This piece, which has a Bachian feel for harmonic movement, has aptly been described by the pianist Margaret Nielsen as 'exuding a sort of rhapsodic nostalgia as each phrase struggles to escape from the pedal points that act as secure anchors to different tonal areas.' A surge of sound in the middle releases the music into a new tonal centre of C sharp minor but shifting tonalities ensue until it finally resolves into D major. Lilburn is spare with performing instructions but, as a general rule in pieces like this, one aims for clearness and plasticity of sound.