||The text fragments of the 4th movement allude to the biography of Guilhem de Cabestanh, a late 12th century Provençal troubadour, who was in love with lady Seremonda of Castel- Rossillon. When her husband found out about their liaison, he killed the poet, cut his heart out and had it cooked and served for his wife. On hearing this she pronounced that after such a noble meal she was not able to live any longer and threw herself out of the window. The fragments in French could be interpreted as a description of the lady´s untroubled and empty life in the castle, those in English as the words of her husband. The melodic motif is derived from the Romanesca bass (and from the oscillating fourth in the kettle-drum motive), other fragments of it turn up in other movements in different shapes. The performer is free to leave out the text, just keeping it in his/her mind. flm = flattement, French baroque term for finger vibrato on wind instruments. In two of the movements the player has to make certain percussive effects. In the fourth movement a rain-stick of about one meter´s length, the hissing sound of which should last about 4 seconds when, from a vertical position, promptly turned 180 degrees. When not in use it may be placed on the floor leaning against a table. Instead of a rain-stick metal chimes could be used for a similar effect. Another percussive sound is to be made by a ledge, about 45 centimeter long, about 8 centimeter broad and about 8 millimeter thick. It should be mounted with a vecro tape or some similar device, so that the player can take it on and off his shoe swiftly; this "ski" should be able to make a smacking sound, similar to that of the percussion instrument whip, when the foot is tilted against the floor. In the 4th movement, where this instrument is used only once, in bar 55, it should be placed on the table to be smacked against, and managed by the player´s hand. Its single use here is to be "announced" as little as possible so as to make a rather surprising, strong noise, surrounded by silence. Immediately before the 6th movement the player puts it on his foot. After its last use in bar 108 of the sixth movement it can be taken off again. The "ski" is notated with a square notehead. Yet another percussive sound in the 6th movement is foot stamp, making a dull sound; it is notated with a cross note head. The "ski" is to be thought of as a practical way to acheive a certain percussive sound; if the player can conceive another way to achieve a similar effect, he is welcome to do so. 6 th movement. In the section marked "like delay effect", the last note group, marked ppp - e.g. bars 120 124 and others - could be left out for the performer to take breath, if necessary, rather than disturbing the regular beat. A synthetic playback version can be obtained from the composer as an aid for studying the piece.