[1] The concerto is scored for solo percussion and an orchestra comprising two flutes, two oboes (2nd doubling cor anglais), two clarinets (2nd doubling bass clarinet), bassoon, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, two percussionists (glockenspiel, two marimbas, tuned gongs, siren, bass drum, suspended sizzle cymbal, tam-tams, tubular bells, tom-tom drums, snare drum, two suspended cymbals, two triangles, thunder sheet), harp, piano, and strings.
2 with the Philharmonia Orchestra, Tim Ashley of The Guardian lauded the piece and its performer, saying the work "confirms Currie's status as an athlete and a star, as well as an outstanding musician.
"[3] John Allison of The Daily Telegraph wrote: Revelling in exotic sounds like most percussion concertos, the work contains an element of effect without cause, but MacMillan is too skilful a composer for this to weaken its impact.
The solo part – played with utmost virtuosity by Currie – is chased by orchestral interjections until in the ruminating middle section of this single-movement, 25-minute work the music finds room to breathe.
[4]Reviewing the United States premiere of the piece at the Cabrillo Festival of Contemporary Music, Georgia Rowe of the San Jose Mercury News also praised the work, saying it "gave the orchestra a workout."