“The passing images change, one after the other, like a kaleidoscope. The nature of the sights varies – at times a certain irony is heard, at times motor-like movement and every so often a tendency to lyricism is also distinguishable. The pictures are apparently unrelated, yet one may still hear and feel that the connection between them is not random; motifs and textures tie each image to the subsequent one. The composition opens with a motor-like rhythmic motif that is repeated in different forms throughout the piece, ascending and descending, until finally dissipating. It finishes with a kind of question mark, an open ending…”.

Like his previous works, this composition likewise reveals Yuhas as a virtuoso of arrangements and motif development, in this case, the aforementioned motor motif that undergoes various transformations. It appears many times in pairs of instruments and in rhythmical unison, but also in single instruments and contrapuntal textures. In addition, its emotional meanings change frequently. Another element, with high significance in other Yuhas compositions as well, is the harmony, which is represented here mainly by the piano chords, the rich harmony that uniquely “colors” the pictures of the piece. The structure of the piece sounds loose, as the composer has remarked, but it is a master’s hand that leads the listener to the climax, characterized by an intensity og high notes and an acceleration of tempo and textual density, immediately followed by the concluding section and its refined lyricism.

Yossi Peles