Un eco di soffio extracts an “echo of breath” from three deeply idiomatic cello techniques: tremolo, bariolage and glissando. Reconsidered at the limits of air and pitched sound, these gestures reveal changing shares of friction, harmonic colour and noise.

The two cellists are conceived as a single meta-friction instrument rather than as soloist and accompaniment. Echoes, canons, guided improvisation and extreme softness make each action dependent on attentive listening; repetition never reproduces exactly the same timbre, allowing fragility and porosity to shape the form.