This article describes the process of designing and performing an installation at York Minster taking as a point of departure an existing piece of electroacoustic music. The creation of a soundtrack that would relate to the location is described using an asymmetrical disposition of loudspeakers for a flexible method. Strategies for an integrated spatial and temporal evolution over a 12-channel speaker system in the hall are outlined considering a strategy for the movement of sound in relation to the movement of the audience in the hall. Some conclusions are drawn about the approach used to create the soundtrack from the original piece as well as the method used for the implementation. Finally, some suggestions are outlined for an improved version of the installation which could have a longer duration and could happen outside the context of a concert.