The general structure is made of 7 main parts.

Prologue – very long meditative bass flute solo, slowly going up (from the deep to the high pitched tones) the full range of the instrument.
1st part – confrontation of 3 typical characters:
   The first one (to the deep tones instruments of the orchestra) asks existential questions, he is worried, anxious, distressed.
   The second one replies to the first one in a calm and serene way with a very linear choral (horns and soprano) harmonized in the high pitched tones (wood).
   The 3rd one (with the soloist flute) is unstable and oscillates between the other two.
3rd part – – it is the most developed part. The way it is built lies on the idea of an inversion of tension between the soprano and the orchestra (opposition line / mass). If at the beginning the soloist imposes her tension with a rapid, almost mechanic phrase, she will relax by being more and more refined, contrary to the orchestra that will progressively become heavier by multiplying its harmonies, like an expanding biologic cell.
4th part –here the orchestra is treated like a rough material that can be modelled, chiselled and stretched similar to the ascension of the “metals” that start from the extremely deep and slowly slide towards the extremely high pitches.
5th part – embedded in the 4th part, this part justifies the dedication: it’s a hymn to love and can be expressed by both soloists.
Postlude – the work ends in a climate of complete serenity – call to light – contemplation – plenitude.

3A