It's a very, very standard for the orchestra to play, a sort of overture where they already present all the material.

But they present the beginning without the main scene that Evelyn will play later.

So they only go, He's broken.

This broken a major chord.

It's quite a very simple sort of empty seem.

Then when they're finished with the overture, you expect the violent to start with the material.

But Evelyn instead comes in with this a gradual, which comes out of nowhere.

This short meditation is a really severely arresting entrance.

I think off the soloist to play something entirely different that has barely any relations in the same key.

But otherwise it's totally different.

And then the main section starts orchestra again, placed there distinct.

But the violent on top of that plays the main scene, which, you understand, comes out of this a Dodgers scene, and so that it all comes together suddenly and it'll make sense, and it's amazing nobody had ever done anything like this before.