The relationships between these four movements may be heard in at least two ways: as a palindrome, where the first and final movements and the second and third are related in their lengths and purposes (the first and final running far shorter than the second and third, and the second and third serving to develop, rather than present and recapitulate, the materials of the work), or as an overlapping structure, where the first and third and the second and fourth are related more explicitly via their recognizable thematic links. This characteristic of the work—to be heard and understood in differing ways—is something I consciously sought.