In the late 1950s Einojuhani Rautavaara went on to apply the twelve-tone technique to several of his works, and even experimented a few times with total serialism. Seitsemän preludia (Seven Preludes; 1957) reflects the transition from Neoclassicism to a more chromatic and dissonant idiom, though one cannot speak yet of dodecaphony proper. Rautavaara subsequently made use of the material of the preludes in his Second Symphony (1957).