This suite contains five movements sharing a common thread: moments alternating playful and grotesque moods, and a style blending late-Romantic, Impressionist, and jazz influences.

The first movement is structured as a loose binary form interspersed by a recurring ritornello idea. The rhythmic style betrays some Latin jazz influences, such as the tresillo motif and lots of syncopation.

The second movement employs a single octatonic scale almost throughout (C-Db-Eb-E§-F#-G-A-Bb), except during the central climax where notes from outside the scale create an important contrast. The piece was based on a painting of a medieval barber operating an agonizing patient.

The third movement was my first piece for string quartet. It’s a playful polka with a mini-waltz acting as a trio, where the cello and viola share the spotlight with humorous solos. I instantly noticed its potential as an encore piece, being first performed as such at a concert at the Kiev conservatory in May 2019.

The fourth movement is another waltz, featuring a carefree main theme that alternates with fantasmagoric episodes based on quartal and quintal harmonies.

The final movement was originally intended as the finale of my string sextet (which was at first a piano sonata). It’s in sonata form with a coda that draws the whole suite to a frenetic close.