The three-movement Quo vadis by Erik Bergman is a typical example of his recent coloristic-improvisatory style. It is a dialogue-like duo in which the instruments speak both in turn and together. Their voices grow in a wedge of volume — from silence to passionate outbursts and from the middle to the outer registers. Each rejoinder is usually dominated by a particular mode of playing and figure the most marked being the highly dissonant crashes on the piano and the cello tremoli. The themes of the second movement are based on a medieval Dies irae melody. But their melodic type oscillating backwards and forwards over a small interval is characteristic of Bergman andaccordingly makes its appearance in the other movements too.
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