The work starts with repeated unison ’D’s, which are a complete red herring. It was in a programme with Mozart and I thought it would be quite fun to have the audience believe that they were going to hear a classical piece. This is soon subverted as chromaticism takes over and the music explodes into 16 solo lines. The form of ‘Sinfonietta’ is unusual, in that it is loudest at the ends and empty in the middle. Out of the central calm is revealed the twelve tone melody that was the original inspiration for the piece. This gradually grows, taking the work back to its original intensity.