TO BREATHE AGAIN

In close conversation with the performer, the composition features extended (even extreme) techniques on the violin, which grant the instrument a human and flawed quality. 

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Perhaps the strongest example of this is Stijn's signature ability to play the violin with the hands crossed, placing the bow near the top of the fingerboard while holding the notes down near the neck of the violin, which flips all intervals, thus requiring an impressive coordination from the performer. Coined 'sul tasto speciale' in the score, this technique serves to underline how little control we have over our vocal folds when they are injured.

In close conversation with the performer, the composition features extended (even extreme) techniques on the violin, which grant the instrument a human and flawed quality. 

​

Perhaps the strongest example of this is Stijn's signature ability to play the violin with the hands crossed, placing the bow near the top of the fingerboard while holding the notes down near the neck of the violin, which flips all intervals, thus requiring an impressive coordination from the performer. Coined 'sul tasto speciale' in the score, this technique serves to underline how little control we have over our vocal folds when they are injured.

In close conversation with the performer, the composition features extended (even extreme) techniques on the violin, which grant the instrument a human and flawed quality. 

​

Perhaps the strongest example of this is Stijn's signature ability to play the violin with the hands crossed, placing the bow near the top of the fingerboard while holding the notes down near the neck of the violin, which flips all intervals, thus requiring an impressive coordination from the performer. Coined 'sul tasto speciale' in the score, this technique serves to underline how little control we have over our vocal folds when they are injured.