The sonorities on Solitude are engagingly different. Tsahar uses the strings of the quartet not only for denser texture, but also to parlay the playing into a wide field where the spirit of spontaneity can roam freely. In sum, they come up with pictures that are vivid and multi-dimensional. By way of paradox, or through a sense of humour, "Unmoving contains a wealth of shifting timbre and dynamics. There is nary a moment when the going settles down, movement and change being the elements the track grooves on. Tatsuya Nakatani gets the tick going, the click of percussion, the tap of the drum, and then the violins rising slowly to swirl a curtain over the top. Volatility gives way to deliberation, the mood changes and coalesces into thick outpourings on the strings. While this is enough to retain attention, it gets all the better when the musicians open interaction, particularly between percussion and the squealing strings. The mood is sombre but captivating on "Love Is. The melody flows gently, Tsahar is in no hurry to expose it. As the strings come in, his notes rise and curl and as they descend he infuses them with pithy sinew. Tsahar wraps "Solitude in his own reckoning. He touches the vestiges of the melody before dipping fully into it. His tone is balmy and deliberate and in that he creates a welcome new picture of the Duke Ellington tune.