​In many fragments Séverac incorporates other resources common to the cobla such as bass accents, pedal notes and repeated notes. There is also the tutti, with the open chords of the accompaniment in the left hand forcing the piano to arpeggiate them, a very frequent resource of Séverac (Ex. 4 and min. 1:09).

 

The sound of the plane appears twice coinciding with the same motive, as a leitmotif (m. 35 and 72, and mins. 1:09 and 1:35). In m. 106, coinciding with a fragment of repetition in the right hand and of extreme registers between both hands, a car horn sounds to accompany the moment of tension (min. 2:07). In m. 121 the only car is heard passing by, with a more noticeable engine sound than the latest models already offer. In this fragment the first theme is heard in f, clair, and very sharp, to gradually disappear in the theme of “Hope”. I thought it was appropriate here to give the opportunity to listen to the sounds of nature that welcome the arrival in Cerdanya, the sound of the river and the firm and slow step of some horses that accompany the theme of “Hope” (Ex. 4 and m. 146 and min. 2:49 river, and m. 213 and min. 4:53 horses). At this moment I imagine Séverac arriving in the valley and interrupting his way to listen to its sounds. In between, the sound of two trains (m. 176 and min. 4:11, and m. 181 and min. 4:25) intrudes on the appearance of a new theme with which he sets off again on the trot of the journey.

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The number ends with a memory of the introduction and the sound of the birds, thus ending the journey undertaken at the beginning in a cyclical way.