Alawad's Berliner Taksim for Violin and Chamber Ensemble seeks a continuation of traditional lines while simultaneously bridging into the present-day Berlin. "The composition carries the spirit of Berlin within it. Here is where I matured musically, and thus, this piece is an expression of the productive coexistence of both places – Damascus and Berlin – in my musical language," explains the composer. "The classical Taksim is an improvisation for a solo instrument, accompanied by pedal tones from the supporting ensemble. I want to break, criticize, and counterpose this hierarchical structure with an alternative model."

The three slow initial movements, Cloud I–III, bear influences of electronic music and represent progressive attempts at interaction between the violin and the accompanying musicians. The soloist 'speaks' with detailed fragments of a condensed and openly structured form of Taksim against the other instruments. An exchange develops between both sides, continuing as individual movements dialogically react to each other, eventually culminating in the fast final movement. "The result is a broken pattern, an opened-up design. It becomes evident that Taksim can function without hierarchical followership and can be imperfect and beautiful in the contrast of ideas."

Madeleine Onwuzulike