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Petals for solo cello was written abruptly in a few days, but evidently after a long unconscious preparation. The material stems directly from Nymphéa for string quartet and electronics. The name of the piece is derived from this relationship.
The opposite elements here are fragile coloristic passages which give birth to more energetic events with clear rhythmic and melodic character. These more sharply focussed figures pass through different transformations, and finally merge back to less dynamic but not the less intensive filigration.
In bringing together these very opposite modes of expressions I aimed to force the interpreter to stretch his sensibility.