Commissioned by the Holland Festival, which mounted the premiere in June , the work involves a small complement of performers: a chorus that can be as small as six singers and a single violinist or violist. Like Satyagraha, though, its instrumentation and singing style are more conventionally those of the concert-music world, as opposed to the electrified, amplified hybrid of Einstein. Despite being designated for the stage, the work has no plot or characters, no clear linear direction or dramatic arc, per se.

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This premiere recording was made by Ooppera Skaala, a Finnish company that specializes in contemporary opera, after a production they did in In his attempt to imitate a conventional scoring of madrigals, Glass sets the piece for vocal sextet, accompanied by violin and viola. The vocal writing is richer than that of Einstein On the Beach, his first opera, using more typical vocal ensemble techniques. The piece does not have the melodic and often more programmatic feeling that you find in some of his later works like Satyagraha. The singers manage to pull things together during the more lyric sections, but many of the staccato passages are painful. The recording is no better than the performances. Many of the faults you hear in the strings would not have been an issue had the microphone been placed at a judicious distance. Added reverb only serves to let small errors linger in the air.
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Can I still make the dish? The hourlong work has no plot, no characters and no libretto, but features six singers, a violin and a viola. Can a composer still build an opera with them? In principle, yes. Whether the result still tastes like an opera should remain a subject for debate. What it sounds like is easier to answer. The music consists of a pointillist choral score over undulating arpeggios played on the violin in the first half of the piece, then on the viola. Streams of repeated motifs swirl and settle in ever new harmonic configurations like a murmuration of starlings.
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