The work, dated 1989, appears to be a pure stylistic exercise with the Schumannian and Brahmsian patterns of "true" romanticism. Vidovszky creates a kind of "minimal music" from the abstraction of romantic formulas. In the 14 dances that make up the work, we hear versions of the same "dance melody", but this melody is nothing more than a framework stripped down to a quarter-fifth-octave melodic formula. The tone of the work bears the traits of the author's individual creative character: acerbic and ironic.