A prominent role for harps was underlined by their positioning in front of the orchestra, at the conductor's feet.
The scoring of this work is mainly for woodwind and brass, including euphonium plus harp, accordion, piano doubling synthesiser, percussion and electric guitar.
He is accompanied, as before, by the harp, but now the harp's heavenly associations are reinforced by a halo of shimmering strings.
This can be observed with the harp glissando and unison soprano voice examples, because in both cases many sustaining harmonic partials overlap temporally.
Another prominent feature is the orchestral quasi-concertino of marimba, harp and cimbalom, which imbues the work with sonorities reminiscent of folk music.
Here in this interior wilderness, the harps could find the sensitive quiet needed to record them.
These are joined in the second movement by a harp, in the third additionally by a celesta.
The equivalent in version 4, on the other hand, retains the folk-like orchestration of its previous section and adds a harp.
