The choir’s vocal singing already offers much more interesting melodic moves. Each voice is independent of the other – the parts differ both in the rhythmic pattern and in the course of the melody, creating only harmonious intervals in the whole piece. The work is written in the rondo style, where the central theme alternates with episodes that differ from each other. The uniqueness of this work is also in the fact that it goes in a circle not only by the genre but, in fact, in the notation, the stave is twisted, reflecting the mirrored violin and bass clefs.
The symbolism of the work attracts no less than its musical component. “My end is my beginning” – a phrase that implies a semantic palindrome is fully reflected in music, which does not lose harmony in whatever direction it sounds. Although there are only three voices, their dynamics and melody evoke different feelings depending on which voice to follow. Cantos has the most movement, while Tenor is more judicious, and Triplum brings breath and lightness to the piece thanks to its pauses on the first beat. Walking in half notes at the end of each passage, and therefore at the beginning of the next, foreshadows a calm, unexpectedly interrupted before the last letter by fluent eighths and quarters. In my opinion, they very accurately symbolize the last breath before death and precisely the same first breath after birth.