Composed in 1972, this three-part work for large orchestra seems to breathe between phrases or gestures by notated pauses, caesuras, and momentary swells up and down in volume. A long, beautifully written solo for English horn makes a lyrical commentary/melody brought back in other instruments throughout the work. A sumptuous section for strings in chords and winds in parallel movement appears midway through, with lovely glockenspiel notes creating a floating atmosphere. The mood takes a breath, and more playful, fragmented music enters, at first with a sharp edge, and gradually become more quiet but also more velvety in texture. A full Berg/Schoenberg-like opulence takes over in sweeping 12-tone melodies of complex, romantic counterpoint. Everyone takes another breath. The fragmentary textures return only with much fuller orchestra, then gradually work themselves down to chamber orchestra size. Brief pause. The seven-part finale has begun. The piece ends simply, like other Maderna pieces, with a single punctuated note on the glockenspiel.

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