I remember a conversation with Anna Kwiatkowska when we were planning the program of one of the concerts of the summer festival at Sinfonia Varsovia. The plan was to have the performance of the Flow Unit 3 trio, which the violinist co-creates with the cellist Mikołaj Pałosz and the pianist Adam Kośmieja. We were wondering what works would be best to show the intimate relationship between a musician and an instrument, between two or three band members. Physical closeness that the pandemic made impossible to show. Among the proposals was Matthias Pintscher's Study I for Treatise on the Veil, inspired by the works of abstract artist Cy Twombly. The game with perception that the composer invites in his work is reminiscent of an attempt to outline perspective on a plane in visual arts. The clash of lines that gives you a sense of depth. I have the impression that Anna Kwiatkowska and Mikołaj Pałosz set themselves a similar task on the new Aure album. A duo of experts in interpreting contemporary music, whose fingers bend the strings, producing previously unknown sounds, can create the illusion of one instrument. The level of understanding between musicians reaches the highest level, which is not only audible, but also often visible on stage: in the exchange of glances and gestures. The repertoire included on the album highlights this unique flow of energy and shows how the artists control their instruments. The title Aure by Kaija Saariaho is a dialogue fraught with technical difficulties with the piece Shadows of Time by Henri Dutilleux, which was an inspiration for the composer. The French composer gave the third part of his work a dedication: "Anne Frank and all the innocent children of the world" - Saariaho referred to her. Given the situation on the Polish-Belarusian border, the work gains an unplanned layer of meaning, sublimating emotions that would like to be expressed by screaming. Some relief is provided by Idin Samimi Mofakham's Lullaby for solo violin, in a tender performance. The remaining works have a more sharp character. In Situation IV "Io e iO" by Anahita Abbasi, the violin is subjected to sound surgery - the artist installs a foreign body between the strings to search for new ways of articulation. I find a similar courage of exploration in Dominik Karski's Certainty's Extent for solo cello. The bow in Mikołaj Pałosz's hand travels through various spheres of the instrument, demonstrating along the way an impressive range of noises, gratings and cracks. Microtonal noises interspersed with violent impacts fill Roman Haubenstock-Ramati's Pluriel, a score offering great performance freedom. And it is in such songs that we can best hear what the duo is interested in in contemporary music - discovering slightly forgotten, maybe even dusty, but still current sound worlds. It's worth joining this journey.