The piece consists of three parts. Clones of string quartets are placed in front of each other, since the strings in an orchestra can be divided into seven string quartets. Throughout the piece the quartets relate to each other – and particularly to the music of the solo quartet. It is like eight social beings surrounded by a world – both an inner and an outer – where the latter consists of wind players and percussion. The relationship between the quartets is continuously changing: They repeat each other like an echo, or challenge each other. The quartets can play tutti opposite the solo quartet, or they can be playing like a leader with delayed followers. The orchestra setup differs completely from the traditional: Partly because the strings are placed together in quartets playing from the back of the stage to the front. Partly because the winds are sitting together in different ensembles placed between the quartets. It creates spatial barriers and underlines the idea of the quartets nearby (those in the front of the stage) and the more distant (those in the back of the stage). The musical material has its own life and unfolds inexorably. In a longer part of the composition the track ‘Sekstur from Vensyssel’ from the album ‘Wood Works’ by The Danish String Quartet is used – a gesture for the four lovely musicians from the quartet. There is no “bel-esprit” in the aesthetics of the the first part of the piece (the longest). The “bel esprit” which appears in the second part presents itself like a sort of delirium in the form of a dream. The dream is about Chopin’s Ballade no 4 for piano. Every part is enlarging and crumbling. The music numbs itself, so that the pain from the music in the first part will not be too overwhelming. The coda is serene, detached from both the previous parts of the music – maybe just saying: “Never mind”.