This set of fifteen variations was composed in 1982, when Harbison was also involved with his vocal cycle, "Mirabai Songs." Both works have an initial image of a holy woman dancing: In this case it was a statue of a Caananite fertility goddess dancing. The initial shape of the work was in four movements: Spirit-Dance, Body-Dance, Soul-Dance, and Dervish-Finale. As work progressed, it turned into an extensive set of variations, still divided into the four sections. As is often the case with Harbison, the music is complex, in a modern form of extended tonality, but it does retain a tonal center which helps the listener follow the musical argument with some effort. It is, in the end, rewarding music.

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