The narrative dramaturgy of this composition is based on a twofold conception of sound as character and as place. Both flute and tape participate of this elusive reality. While the character is determined by a linear, soloistic development, the place has a static but lively sound, slowly and constantly changing. In a sense, it is a character as well, with its own

an elusive place to leave

for tape, voice, flute and live electronics

personal behaviour.  The idea of space it suggests is not performed through sound diffusion. It is more related to its spread into the frequency domain: noise is the environment of every sound.  The flute generates and at the same time inhabits this elusive place. Breath and air (constituting its voice) are then exploded and expanded, thus producing a permanent environment. The tape introduces a second character, based on a polyphonically harmonized whistling voice. These two "instruments" are companions in this abstracted place. They are bounded in an indestructible relation; only at the end, through a weeping memory, we understand how deep is their connection.Except for the extreme parts (beginning and end) a distinction between

instrument and tape, even if possible, is not the main point of the composition. Instead, they play around a shift between background and surface, always in search of a different proportion; a hierarchical discrimination is not possible: the general sound-world, as well as the formal development, live of this ambiguity.