The regularity of the dance movement and the tonality gets more and more in conflict with the irregular melody structure and chromatic dispersion. The work written in 1985 was commissioned by the Johan Wagenaar Foundation. And finally the knowledge that these elements change thanks to the new contexts in which they appear. This work is considered with relations existing between the german tonal late-romanticism and the atonal expressionism. Historically these relations can be traced in the music of such composers as Schoenberg and Strauss.
All musical ingredients are thus historical, i.e. style quotations.
There is an overdosis of musical gestures which is not historical. The composition technique consists of an accumulation of musical elements which came into being over longer historical periods. These are elements which are now skilfully built into a concentrated whole. A combination, by the way, which has never been used in the 19th century as far as I know.