Estrofas del viento establishes a dialogue between two instruments that are rarely meet in the history of music. From the introductory beginning of the work, expressive possibilities arise as a meeting point and starting point for this brief work that refers to the haiku of Japanese poetry. As in the poem, this work traces its trajectory with unique brushstrokes: the melodic sense in quarter tones that both instruments exchange disintegrates into brief volatile scales that will become the thematic material of the second section.
The possibilities offered by each of the instruments opened up the expressive and thematic range. Thus, in this second part, tongue attacks on the clarinet are introduced, as well as different possibilities of attacks on pizzicato and with the bow on the gamba. These attacks contrast with the volatile impulse of the modal scales of the clarinet and the glissandos of the gamba, which end up disintegrating into these idiosyncratic instrumental fragments.