This piece, inspired in part by the abstract works of the American painter Philip Guston, is about a permanently floating quality; a musical discourse with no center and no edges. Each of the four movements resembles a core sample of a musical entity with unique properties, and the music is charged with opposed extremes: slow phrases are abruptly interrupted by rapid, furtive lines; dense tuttis are alternated with delicate solos, static harmonic fields give way to thickets of dense contrapuntal lines. Yet this is not dramatic music; the oppositions it contains exist to provide further chains of events in an nebulous space of potentially unlimited dimensions.