In Guardian the cello is dreaming the orchestra and vice versa. At times, the cello grows to include the orchestra within its resonant body. The orchestra, at times, dreams that it is the cello, or even just one of its strings or the tip of the bow. 
Time compresses and stretches so thin that it becomes a scent rather than a canvas. This scent is an intense color which stains the form, distorts and transforms it. But everything is tenuous and either remains or disappears or is left hanging so that the form is no solid object but rather a structured utterance. 

The piece resides in an almost impossible continuum which might be imagined this way: space – presence – nuance – color – movement – gesture – drama – song. The field of open form in algorithmic visual computer work enables a multi-dimensional development of objects in a way that is not linear, as at any moment one or other parameters of the shape takes over, impacting the overall form. This is the thinking that inspired this concerto. The piece is dedicated to Séverine Ballon and owes much to her imagination and artistry. 

Chaya Czernowin, 2016