If one were seeking a metaphor for Ave Mavis Stella from among one's familiar musical experience, all the signs would point to a late Beethoven quartet. Of course the analogy between a string quartet and a sextet of mixed timbre is not literal, while the comparison of a work not yet two years old with some of the most visionary pieces ever written could be misconstrued, even if one swore it was only for analytical purposes as one was dragged screaming away to serve a five-year term for pretentiousness. But fortunately real affinity among composers and between pieces of music is not a function of our historical neuroses, and there are encouraging signs that sensitive and aware listeners can hear that it is not. One such friend of mine, having just heard Ave Maris for the second time, remarked that the first hearing some months earlier had thrown him into a kind of ‘2001’ outer space, while at the second hearing he realized he was listening to an absolutely classical piece of chamber music. In fact, as we will see, his two statements are very far from antithetical. At any rate, there is every reason to hope that such a listener, given a finite number of further hearings, would himself make the jump from ‘an absolutely classical piece of chamber music’ to ‘a late Beethoven quartet’ without any difficulty.