The idea in Like wool (1998) was to create a richly textured music on a local level, that is in each of the 49 instrumental lines, with the aim of producing a relatively constant global texture. The analogy of wool in the title relates to small threads being rather chaotically drawn together to create a larger structure that, from a distance, seems fairly stable. Normally we use wool to make other objects, but it has its own internal structure: in the piece, the material that is normally used to make larger pieces has its own internal structure, which is the focus. As a result, local timbral manipulation was reduced, becoming reliant more on changes in other parameters, as individual lines effectively became shadings of the macro-timbre of the orchestra.

The piece is the largest in scale of the series of very short pieces I wrote between 1996-2000. It lasts c.25 seconds in performance.