When I first began sketching the piece, my working title was BAREFOOT ON THE CROWDED ROAD. Like all my other orchestral music, there was no prospect of any performance, no actual orchestra with whom I might collaborate; I exulted to write the piece entirely on spec. Much of my other orchestral music is written to a technical level such that I might conceivably pitch it to a local community orchestra. My idea with DISCREET ERASURES was, to write a piece at a level which would absolutely require a professional orchestra. The piece is wilful, perhaps even rhapsodic.