I was also interested in composing a work in which the two players would, to a large extent, develop seperate discourses. Here, the early motion photography of Eadweard Muybridge provided a useful stimulus which led directly to the formulation of the framing device of the title.
Just as Muybridge, in his Animal Locomotion collection of 1887 presented movements in discrete photographic images (allowing people to see for themselves whether or not a galloping horse did in fact momentarily lose contact with the ground!), so I imagined certain points in the piece, in which the developing relationship, between the two musical discourses would become explicit, as in the freeze one or other instrument appears to initiate, while the other follows.
The work is laid out in one continuous movement in five sections, representing a single cycle of possibilities, departing from synchronicity and then returning to it in the final section. (George Nicholson)
Recorded by:
Θ - John Kenny, on A Field of Scarecrows - CD 101540