Utilizing a textural approach to the development of a sonic environment, Regret of a Noiseless Sundering, borrows images suggested in Portrait of the Artist as a Young Man by James Joyce to suggest fleeting and transient, shapes and shadows. Formally, the work takes a peek at the experimental Seconda Sonatina of 1912 by Ferrucio Busoni, who proposed radical musical experimentation during the years, ca 1908 to 1915 (and then only to renounce such bold proclamations later in his life), particularly in his short text Sketch of a New Aesthetic of Music. In his sketch, Busoni suggested that contemporary music, rather than being based upon stable musical structures, should be based upon fleeting and transient structures. What might this mean? In the Seconda Sonatina he seems to base the longer/weighty sections upon materials that are transitional-like in character, which are then linked by shorter sections featuring stable-like characteristics. So that formally, the template of the conventional sonatina is inverted, with transient sections assuming the formal importance of the dominant expressive paradigm, with stability assuming the secondary structural role. Formally, Regret of a Noiseless Sundering uses similar concepts of inverted stylistic typologies.