In Baroque musical practice, performers are generally expected to embellish the written music with their own un-written ornaments. In this framework, one could even say that a significant portion of the work is indeed contained in these un-notated elements.

This piece is a highlighting (and erasure) of this tradition. Across time, the highly intricate and densely ornamented material is gradually stripped away of its trimmings, leaving whatever is left – a frail, skeletal form of the Prelude from Bach’s Cello Suite No. 2 – skinned of its meaning and pith.