Written in 1994, the same year as Good Evening, Here is the Latest, this piece is still firmly within the confines of drier, more rigorous atonal procedure and atonal melody. No longer am I in the shadow of Boulez in this work but, unlike Good Evening..., I still felt unable to reference external music and ideas, or use colouristic effects.

​It's a rare survival from my non-referential atonal manner, most of the earlier examples are destroyed.