Plangent whirled the organ, like it drifted aloft the cathedral, a red velvet air, as Erika ran her fingers along the sounds and the airs and focused on the little surprised child's mouths of pipes working, sputtering dust and dead flies, redistributing them to the talcy hot dampness aloft; whirled, prestidigitatorily, the long, long fingers, from key to key, with the pedals coming in from time to time, but all without order—and without order even in the sense of controlled disorder, as of free jazz, aleatory music, what ha[d] you—with the little “failures,” as she thought of them, and what they sounded like, were they sour notes, dissonances, extemporized but then employed to some purpose, or conceived preemptively to application.