It is not an original composition, but – in part – a transcription of Zygmunt Mycielski’s earlier pieces for larger line-ups: Largo has its original in the pre-war ballet Narcissus (1935–1936), while Aria is a setting of the middle part of Five Symphonic Sketches (1945). The final Scherzo (Allegro molto) is characterised by an interrupted quaver continuum “radiated” from the initial note c’ (held up with a fermata) as well as parallelly moved chords of sevenths, typical of the composer. We also find here permutation (present only in the accompaniment part) blurring the order of the bar line, a device which Mycielski would begin to introduce in his subsequent works.