Morton Feldman dedicated a whole series of compositions to the relationship between solo instruments and the orchestra: after Cello and Orchestra (1972), Piano and Orchestra (1975), Oboe and Orchestra (1976) and Flute and Orchestra (1977/78) his Violin and Orchestra (1979) marks the conclusion of these "relationship works." The variety of sound accumulated around the violin, or through the violin, in less than an hour's time ranges from delicate whispers to cantilenas in rich tones and sharp repetitive eruptions. The violin is made to play every possible part in this relationship with the orchestra: at times outshining it like a true prima donna, at others cuddling up to it gently, or even disappearing completely underneath – or above – its partner. On Coptic Light (1985) Feldman once commented: "An important technical aspect of the composition was prompted by Sibelius's observation that the orchestra differs mainly from the piano in that it has no pedal. With this in mind, I set to work to create an orchestral pedal continually varying in nuance. This 'chiaroscuro' is both the compositional and the instrumental focus of Coptic Light."