Typical of Rorem's late-period orchestral works, the piece calls for no unpitched percussion instruments, which was stipulated by the composer before he agreed to write the concerto for Evelyn Glennie.
Rorem elaborated on this point in the score program notes, remarking, "After years of garnishing my orchestral works with every type of gong and drum, I've concluded that non-pitched percussion is superfluous, even in Beethoven.
[1] The work is scored for a solo percussionist and a chamber orchestra comprising flute, oboe, clarinets, horn, trumpet, trombone, and strings.
Jeremy Eichler of The New York Times wrote, "Each [instrument] has strikingly different sonorities and Mr. Rorem created seven brief and handsome movements, including a deftly skittering scherzo and a vaguely menacing waltz.
The work showcased a wide array of timbral and thematic relationships between the soloist and the orchestra, pared down with lean string writing and tart woodwinds.