My starting point for this concerto was to research and explore the recorder's unique attributes. I found that the articulation of the players can be directly magnified by the recorder, so I thought I should make a piece in which the string orchestra functions as an amplification of the articulations which come from the recorder. In other words, everything in this work originate from the mouth of the soloist.

I also had an image that the recorder player is playing somewhere in the desert and a simoom starts and blows the sands around him, sometimes entangling the recorder sometimes leaving it, sometimes returning.

Dai Fujikura (edited by Harry Ross)