The brief: tantalising. The challenge: ultimate. To express the enigma of the ultimate statement of the ultimate composer. If Beethoven’s Ninth is majestic in its eclectic, physical universality, the unfinished Tenth remains awesome in its mythical grandeur, seductive in its impossibility: Gödel’s Theorem made flesh. Firstly I improvised on the idea itself. I then meditated on Beethoven’s sketches, noting the two contrasting themes: A 4/4 Andante in Eb. A 3/4 Allegro in Cm. Interpreting these as complimentary opposites, I sought to locate their points of friction, fusion and ignition. Could the square and circle be fertilised to form our perfect circle? TENTH is no academic realisation, but a noble play on the idea of a great work that cannot exist. My hope is that it stands as worthy testament to a legacy whose celebration was drowned in the waves of pandemic.