This exuberant single-movement jeu d?esprit is basically a conflation of rondo and variation: the overriding principle is of palindromic rhythms, subjected to change, decay and contrast. While this was not a conscious influence, something of Nancarrow?s player-piano studies might lie behind much of this piece. The performer is invited to add a certain ?swing? to much of it, and even, if so inclined, to play it, or passages of it, even faster than written?

The title has no meaning whatever beyond a suggestion of joyful abandon.