Christine for solo violin explores connection as an ongoing, living process rather than an act
of remembrance. Named for the composer’s grandmother, the piece treats sound as
something continuous and present, shaped by attention rather than nostalgia. It unfolds
through subtle transformations of resonance, bow pressure, and harmonic colour, allowing
stillness to remain active and charged. As the work progresses, the music grows denser and
more physically insistent, not through clear rhythmic change but through an intensification
of energy and gesture. The final section returns to quietness, now informed by what has
come before, where each sound carries accumulated history. Throughout, the piece
develops less through melody than through listening, using spectral ideas as a means of
intimacy and continuity rather than abstraction.
Ultimately, Christine frames the violin as a site of continuity, where sound evolves through
presence and care, and where personal meaning emerges from sustained attention rather
than overt expression.