The first phase is made of sustained stable element upon which another more mobile element with the same range is superimposed, ornamenting this long hold. A very long phrase with several periods appears on this sonic landscape, in the high pitches, with an oboe. This singing will be harmonized in the high pitches of the strings with very spaced out calls to the first piano, and in the extreme deep pitches by a succession of very slow and sombre waves.

The second phase shows a zone in which 7 different musics will live together, get superimposed, follow and play with one another.

The 3rd phase, as a result and ending to what precedes, creates a white noise, a flat zone, using the trills in fff of the tom toms. After several breaks, this sonic material will be very slowly coloured by the progressive injection of harmonic masses to the wind instruments (mobile harmonics) and to the strings (stable and very slowly gliss harmony).

The 4th phase calls up towards the end of the long resonance of the tom-toms a large and slow harmonic material (with pianos, harp and string pizzicati) whereas the wind instruments deploy long phrases chromatised in embedded counterpoint with 2, 4 and 6 voices.

The 5th phase develops and superimposes 5 very contrasted sonic materials.

The work ends towards the sun, the light – only outcome – only hope still possible.

3A