But the idea of the beautiful qualities of the different registers of the instrument and the extraordinary agility attracted me more and more, so when Elena Bashkirova asked me write something for her and the Jerusalem International Chamber Music Festival, I decided it would be a flute concerto.
But the work's heart, its central section, is dominated by a striking ruminative songfulness, with long solo melodies that meander and drift through different registers while the orchestra offers only modest commentary, or later, icy chords slowly drawn to arresting effect.
[2]Anthony Tommasini of The New York Times similarly lauded the work as "rhapsodic and brilliant" and wrote, "It opens with startling, crisp orchestral chords that prod the flute into scurrying figures, quickly taken up by other instruments.
The flute's skittish riffs and winding lyrical lines sometimes ignite agitated orchestral responses; at other times they are cushioned by subdued, sustained harmonies.
"[3] Lisa Hirsch of the San Francisco Classical Voice wrote, "About 15 minutes long and for a smallish orchestra that nonetheless includes a colorful percussion section, a harp, and a piano, it’s a lovely and challenging showpiece for the flutist.