This extended dynamic meditation, of approximately 13 minutes length, composed in 1986 for cello and the cellist's voice was inspired by the movements and philosophy of Tai Chi and the "natural, unhurried rhythms of the environment of the Northern Territory." (Hopkins). The piece opens with a beautiful fantasy on natural string harmonics combined with nasal harmonic singing (similar to that found in the folk song of Tibet and Tuva) creating glorious intermodulation effects. A section follows with sustained drones on the cello (which the composer refers to as "circular didjeridu bowing") underscoring more of the harmonic singing. A lovely folksong-like melody is then played on the upper strings of the cello while the lower strings continue the drones. Mid-range harmonics with sliding drones are then explored. This develops into a rhythmically propulsive section which slowly begins to settle back into the previous harmonic singing with drones idea. Wierd, swiftly flying harmonic figures like calls in the arctic distance are interrupted with sliding gestures as the work concludes.



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