The music theory behind the piece:  

The 7-note scale here consists of seven of the eight tones one obtains by dividing the octave into eight parts.  This scale affords seven distinct trichords (i.e. three-tone sonorities) up to transposition.  Turns out that one can select *particular* transpositions of the trichords, so that 
1) any two notes in the scale belong to exactly one of these special trichords, and 
2)also any two of these special trichords have a common tone.    

Of the total 5040 permutations of the seven tones, 168 preserve the set of special trichords just described, and these permutations thus constitute symmetries of the configuration.   

The basic material of the piece is a 7-tone "cyclic row"  which, when played in canon with itself, produces the 7-special trichords (as two consecutive notes from the first voice and one from the second voice).
Some of those 168 symmetries simply spin the cycle, so the symmetries generate only 168/7=24 variations.  

The piece consists of producing these variations in a florid style.

The work can be performed on harp by retuning a mere 9 strings to obtain the necessary quarter tones.   The performance requires no pedaling.

as the moon releases twig by twig the night-entangled trees, for harp

Composer, mathematician, visual artist. 
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as the moon releases twig by twig the night-entangled trees, for harp

David Victor Feldman