Written in 1992, this work is scored for flute, clarinet, vibraphone and string orchestra. The work begins with eerie weavings of harmonics on all the instruments in close intervals, which slowly descend into a "cloud of sounds" made up of more conventional musical gestures (minimalist quasi-Alberti accompaniment patterns, etc.) mixed with serial gestures. The "landing" (composer's term) comes to rest at the bottom of the harmonic series. We hear a second descent/landing built in much the same way, except the middle harmonies are played in a spooky sul ponticello and sul tasto in the strings. Again the strings descend, a passing reference to early music suddenly unfolds in classical polyphony and the music again comes to rest on the lower fundamental tones. A serialistic, mocking passage is wiped away by the more consonant strings. The strings repeat the opening interweaving of dissonances on a low octave, the harmonies again open up almost to consonances but smash together in an intense cluster. Suddenly, the music is jolly and playful and tonal in a skipping triplet format. The winds and percussion as one group contradict the strings in harmonic consonance and dissonance, and this dialogue is played out for several minutes. Slowly, bits of the wind harmonics with interwoven vibraphone develop into longer passages like the beginning, as the strings try to sneak back in with the jolly dance rhythm. But the initial gesture wins out, the harmonics begin to descend as before, when suddenly the music briefly enters a frightening tunnel which unwinds into the lower consonant fundamentals. The piece ends with a brief coda on a few punctuated chords.

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