When the clarinets enter the fray, they do so gradually, and with little extravagance. Simplicity but precision is the key to achieving the representation I envisage. Contrast is again used, contrast of the sonorities that are available with the instruments performing. The different tone quality of the A and Bb clarinets is explored by letting the A clarinet play higher pitches than the Bb in the opening. All clarinets are making massive use of the instruments vast dynamic range in the introduction. Long E’s are held, and ‘grown’ on each instrument, instruments pairing up to do this at certain points. Eventually at bar 8, a break in the present approach occurs. It is a type of quasi bridge passage to the first thematic section. Shorter notation is introduced, in conjunction with the ever-present sustained notes. Dynamic contrast is still pursued, to continue to present a dreamlike, suggestive picture.
At 41, the ‘Tree’ section climaxes. The Eb clarinet is used to help push the section into memory, fade it into the distance using a long sustained fading high E. It seems like a distant memory by the time we hear the heart re-emerge into the piece at a central pitch again.