The 3 Bagatelles for Cello and Piano borrow and distill the last piece of my Op. 2 for Chamber Orchestra. A clear similarity to Schoenberg’s and Webern’s early atonal period cheapens these pieces (by no means undesirable), thus giving the work its title. Since my intention was not to imitate/reference/allude, I must attribute this resemblance to a frustrated and burdened unconscious state. Only later was I able to recognize that through the unintentional and dangerous ‘exorcism’ something of my own has barely survived.