Opens on silence; around 0:05 a single snare drum begins the bolero figure at a whisper. The flute enters near 0:14 with the long first theme, and the clarinet restates it from about 0:45 — same theme, same rhythm, new voice. That substitution is the piece's entire method, laid out before anything grows.

The bassoon brings the syncopated second theme around 1:15, and from here the two themes alternate in pairs, passed hand to hand: high clarinet (~1:45), oboe d'amore (~2:15), muted trumpet with flute (~2:45), tenor saxophone (~3:15), sopranino sax (~3:45). Near 4:15 a first blend — horn, celesta, and piccolos together — signals the relay is winding down. Nothing is varied except the instrument carrying the line.

The alternation continues, but single players give way to groups: a full woodwind section takes the first theme (~5:15), a solo trombone delivers the second with glissando slides (~6:15), and bowed violins assume the melody around 8:15. Escalation shifts from swapping voices to accumulating mass.

Strings lead while winds and then horns double underneath; the accompaniment thickens, the snare is doubled (~11:15), and by 11:45 the full orchestra is driving the theme in unison octaves. The same two melodies, now at ensemble scale, with the load rising on every restatement.

Trombones and trumpets take over (~12:15), brass fanfare figures crown the melody (~13:15), and the tutti plays near maximum from about 13:45 onward. Past 15:00 the harmony wrenches sideways — the single modulation of the whole recording — and the final bars gather over it.

The last measures hammer through to roughly 16:03, where the sound is severed rather than allowed to settle; hall ring decays into silence by 16:09.

Sixteen minutes, two themes, one unchanged drum figure: nothing develops, everything enlarges, and the only ending left is a cut.