Like several of my recent pieces this piece is concerned with proximity - nearness or distance in space, time or relationship. Most obviously, there is the particular deployment of the instrumental ensemble in the performance space, and these spatial relationships inevitably have implications for the musical material and the way in which it manifests. Then there is the relationship between the recorded sounds and the instrumental textures, which emerge from them, sometimes in imitation (as when the four bass flutes emerge from the sound of running water in the first movement) and sometimes in more abstract juxtapositions. There is also a more personal, and maybe also more poetic, aspect: I see each of these three movements like a view on a landscape, trying to focus on the horizon. Horizons are, by their nature, ungraspable. Try to approach them and they simply move further away. If the horizon were a sound, maybe - like the water, wind and fire sounds used here - it would be always beyond the imposing reach of compositional control.