In those first months of study they shared during band rehearsals their respective progress and often played together, but they struggled to find a specific repertoire for these two instruments. By chance, I had the idea to compose a piece that would see them as protagonists, perhaps accompanied by their wind band friends: a composition in which they could highlight their musicality and the joy of making music together, but which at the same time respected their technical limits on the new instruments.
At the beginning of the piece, the soloists introduce the two themes in rigorous alternation, as if each wanted to demonstrate the other their progress: flute and euphonium respect one another's presence and listen carefully. Soon, however, the first timid attempts at interaction begin and, as it had happened during practice time, the two young performers mutually accompany and support each other. The soloists exchange the themes, transpose them in other keys by exploring different registers and various combinations. In the meantime, the other musicians observe them from the background, supporting them, helping them, sometimes intervening, and coming to the forefront but always encouraging the two soloists and respecting their role as soloists. Only in the very last bars do flute and euphonium finally meet and find the perfect consonance.
The title is a Japanese expression which, if written in different characters, can take on many positive and auspicious meanings, including "enthusiasm," "vitality," "precision," or even "positive energy."