Circle(s) approaches the amplified cello as a resonating body shaped by friction, rotation and contact. The work begins with two bows rubbing against one another and tracing circular paths through the air. As these gestures progressively reach the bridge, strings, edges and wooden body of the instrument, almost inaudible movement acquires acoustic substance.

Changes of pressure, speed and contact transform raw friction into harmonics, grain and unstable pitch. Amplification exposes microscopic vibrations and fragile resonances, while an unconventional left-hand bow position extends the circular principle into multiphonics, spectral fluctuations and minute transitions between stable tone and noise.

Later, tapping, bouncing bows, glissandi and playing on both sides of the bridge push the instrument towards increasingly unstable states. Circular movement becomes both physical gesture and formal principle: one vibration generates another, and sound is continually redirected through bow, string, wood, air and amplified resonance.