Lim writes: "Part 3 of the work comprises a sequence of suggestions for the player to recall aspects of the Swedish folk tradition in the form of one of the Näktergal polskas (handed down in the 19th century by fiddle-player ‘Nightingale’ Erik Ersson from the Dalarna region of Sweden). This act of recall is intended as a kind of ventriloquism of other voices, of patterns lodged in the body through practice and examined through a deconstruction of left- and right-hand movements. The various forms of ornamentation: finger trills, lateral bow glides and brushing movements, are amplifications of notions of desire; of the human desire to create ‘lures’ through demonstrations of skill, aesthetic beauty, and an artisan’s personalisation of given materials, weaving threads of time, story, dance and song."
