This ballet by is described as the first full-evening ballet by an American composer. Chihara, whose style embraces the sonic novelties of his series of compositions collectively entitled Tree Music as well as Hollywood film scores (e.g., Prince of the City) here sets Shakespeare's most mysterious—and some think most beautiful—play to music in a firmly tonal, danceable idiom, with melodic material based on appropriate sources in the canon of 17th-century British composer Henry Purcell. The British Baroque origins of the melodies do not prevent Chihara from employing 20th-century dance rhythms in his music. The whole work is enduringly endearing, entertaining listening, only slightly lacking the sweep and richness of the Romantic-era models of the fairy-tale full length ballet.

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