Èdera for flute and piano was written in late 1992, while the process of writing my first orchestral piece (Line to Clash) was at its most hectic. Instead of these massive, sombre chords I felt it would be a challenge to write something small, quick and bright for two virtuosos, Petri Alanko and Juhani Lagerspetz. The genesis of Caprifoglio was similar; in parallel to larger works, I wrote a smaller one for two virtuosos, this time for Kari Kriikku and Anssi Karttunen.

Èdera is predominantly linear music wherein the progressions of the two instruments intertwine and collide, forming super-arcs or vines (the Italian titles Èdera and Caprifoglio refer to vines or creepers). These arcs are based on the cantus firmus themes of the orchestral piece I mentioned above. In Caprifoglio, the central ideas of Èdera appear in a slightly different environment in that the roles of flute and piano are taken by clarinet and cello, mutatis mutandis.

In most cases, I have attempted to preserve the morphological identity even though details of rhythm and pitch have changed considerably. Compared with Èdera, the central section of Caprifoglio expands from fragmentary abrupt gestures punctuated by pauses into electrifying eruptions constructed around long notes. Towards the end, the instruments intertwine increasingly while recapitulating the opening gestures of the piece in condensed form.