Misty beginning... noises, breath (in bass flute and accordion).

Barely perceptible structures and shapes.

Deep bass sound of the winds.

Amorphous sounds push upwards into the space.

Then high notes, identifiable as the soloist's violin notes, become audible, slowly moving downwards above the amorphous sound world.

The two sound worlds, orchestra and violin, move towards each other as if they wanted to meet and merge in the middle. Or even cross.

Over time, rudiments of a melody seem to emerge from the violin.

But nothing is clear.

On the contrary, suddenly a wild outburst of the orchestra,
that destroys this mysterious initial development. No crossing succeeds.

Short silence after the commotion.

General fright.

Trembling of the violin, halting enquiries in a restless violin recitative, which increases.

Deep orchestral beats, novel brass sound combinations, wild orchestral snatches.

The violin struggles for presence, falters.

A trombone note - long and serious, decisive - , the orchestra joins in and slowly fades away, amorphous sounds as at the beginning.

The violin joins in again, inquiringly.

A new merging of amorphous sounds, but marked by a carrying beauty...

Another short outburst, a trembling of the violin on a constant tone, splinters of a violin tone... as it were a search by the violin for its own identity and timbre.

Then a slow fading away.

Wildly aggressive violin recitative.

Highest agitation, a bracing against despair, rebellion.

Apocalyptic mood.

As if the violin wanted to save itself.

The orchestra, splintered into a thousand fragments and sounds, takes over the wild movement, pursues the violin and drives it before it.

The violin rises to the highest registers, its wildly virtuosic splintering of notes, a kind of rushed chaffing out of desperation. Wild runs.

Broad expanses of sound underpin the wild speech-like violin outburst.

Breathlessness and back and forth between orchestra and wild violin figures.

Then, unexpectedly, a break-off!

In the first movement, Furrer releases a melody from a harmonic gliding movement, which is inscribed with the cutting principle of a kaleidoscope. Imagine looking into such a kaleidoscope and the images arranged there as different lines of material already developed in themselves, which are intersected by rotation and thus create a variety of combinations. Hovering far above the orchestra, the violin melody glides through the chords from which it originates until it finds an elegant independence and begins to sink into the lower registers. There it intersects with the ascending orchestra. The kaleidoscope now turns more slowly; all the layers glide smoothly into one another.

In the second movement, the speed of rotation increases rapidly and the music becomes more volatile and denser. The tiniest melodic particles emerge, are accelerated and are integrated into the harmonic structure, where they are enriched with eloquent glissando figures, only to detach themselves again shortly afterwards. Melodies emerge and fade away in the process.