This piece can be described around two axes of analysis. The first one is the presence of various phenomena of intertextuality: the global form is organized as a sequence of seven sections, each one of which alludes to a compositional model from the tradition; hence besides the introduction and the coda there is a canon, a theme with two sets of variations, a fugue and an impromptu-like piano solo. At the same time, the piece incorporates among its main materials diverse fragments of music by Schoenberg, Berio and Beethoven, which are quoted with varying degrees of emphasis or recognizability. The second axis relates to the programmatic aspect, and shows the idea of nocturne music as a guiding thread to the musical narration: a calm and melancholic evening piece (i.e. a “serenade”) that is performed for the moon.
Both aspects converge in the work's title: the word Serenata refers to a music genre and, at the same time, it is a summary description of the mood and the character of the piece.