“The lunchtime show tuned the air for the series of six performances. I hesitated to demand much of a mainly accidental audience during their lunch hour,” Fripp noted in his diary.
Warren Melnik reported to the readers of ET that “the 40-minute timing for a lunch concert was perfect. There seemed to be 4 major "parts" to this particular soundscape. Emotionally, which to me seems to be the best way to describe it, it started rather upbeat, but due to the overcast weather and the fact that the atrium has a large amount of glass and everyone could see the outside sky, the music got a bit more down. Not necessarily dreary, but with a type of Bach organ feel to it. Think of the feeling evoked by the Tocatta in Tocatta and Fugue in D-minor. All in all quite an interesting experience.”
As Fripp suggested earlier, a more demanding tonality dominates the opening portion of the evening concert compared to the lunchtime. “At an evening performance the bulk of the team come to listen, and are more prepared to extend themselves to bleeping & droning. . . The evening performance was more musically substantial, an hour of continuous music addressing the same (musical) theme, and returning at the end to the beginning theme through variations.”