The title of the composition has a dual meaning. On the one hand, it refers to the transformation of a pitch through the use of pedals, by which, for example, the note F is altered into F-sharp—thus “displayed” or “performed” in a different form. On the other hand, the title refers to a “display” in the theatrical sense: the presentation of additional elements such as a small percussion instrument, the use of the bow, and an E-bow (an electronic bow).

The composition takes the octave as its central focus, with its colouration as the main concern. This is realised in various ways: through scordatura (retuning of pitches), the colouring of tones using harmonics, and the excitation of strings with a bow and E-bow, as well as through the use of an Energy Chime, a percussion instrument with a fixed pitch (B-flat).

Throughout the piece, a constant B is heard, functioning as a bourdon. This lowest harp note is produced by an E-bow attached to the instrument’s pillar. Against this sustained pitch, various octave transformations and harmonic derivatives emerge. Another B, a quarter-tone higher than its expected position, further intensifies the colouristic distortion.

Gradually, an intricate play of octave colourations develops, culminating in a series of highly motoric passages. In these sections, pedal changes increasingly dominate the musical surface, giving the impression of a percussionist at work.

Ultimately, the piece culminates in an extensive pedal passage—the true “display.” The Energy Chime, initially functioning as a foreign element due to both its timbre and its pitch, is finally integrated into the harmonic field as the E-bow transforms the central B into B-flat through scordatura. — Willem Jeths