The solo timpani is conceived as an unsounded lake, a magic cauldron collecting the deepest resonances coming from the orchestra's body. The skin of the instrument and his circular form are often auscultated by the timpanist, who puts his head near the lunar surface, searching for the right intonation. The performer's gesture will become like the lecture of a mirror, which he can hear through, to capture some melodic fragments connected with fear and despair. The voice of the instrument will summon the shadows of Haendel’s arias Lascia ch'io pianga and Ombra mai fu, among others.
The complexity of the resonances into the hemispheric bowl and the darkness of some sounding frequencies, related to the modes and plays of struck, will be treated in order to go into and out from the ideal center of impact, increasing the inner tension and density of the sounds.
Following the suggestion of Elena Garcia-Fernandez, the piece will attempt to realize "the image of a quiet sea, with a tone of anxiety, a dark sea at night…"