I started off with the tune at the end and then worked my way backwards to the beginning. This way the piece unfolds like an opening flower. The melodic material of this development derives entirely from the tune. This composition was inspired by Peter Warlock works for string orchestra. This is the architectural piece of the Suite.
All material is based on a twelve-tone row.
The long atonal chords in the beginning are derived by multiplication of intervals within the row, and so are the rhythmic values and the position of the notes. After this the chords work their way up again at increasing speed and agility. The concept of this piece was inspired by Kenny Wheeler. He often uses circular forms that seem to have no beginning and no end and just flow endlessly. The second half of the movement echoes the resting chords of Part I and eventually leads back to the circle.