The second movement starts with vibraphone and has a slow rhythm and also has the same dynamic wedge downward. Then the dynamics expand outward to the end. The third movement starts with the guitar and has a Stravinskian sound in the way the chords blend like pan diatonicism but this is not the scheme here. Magie, the title cut returns to solo guitar. The theme is tightly woven from short intervals, everything is clouded in minor seconds and a very blurry effect is achieved.
Introspection is pitted against the large and overt.
Quattro Travestimenti for recorders, played by David Bellugi, and guitar begins in relaxed fashion and tonally. Low recorder and mostly harmonics on the guitar gives this first movement a new age quality that wedges outward with guitar of orchestral quality that constitutes waves of impressionist color. The second movement begins with solo guitar in quiet and simplicity of harmonic material and the expanding wedge once again happens to introduce the recorder. There is a fascinating use of body percussion that is characteristic of Nuccio's playing and the dynamic wedge reverses and the movement ends like the first movement. Third movement counterpoints the previous by more complicated harmonic materials and a more rhythmic drive.