Tower focuses the action on the instruments themselves, using them sequentially rather than simultaneously; she explores the sonic possibilities of each one, from the lightest touch to the heaviest battery; she mostly eschews the easy hypnosis of repetitive rhythmic structures.
The review further remarked:Miss Tower is less interested in pure music in this number than she is in creating orchestral textures, aural canvases upon which Miss Glennie can paint her percussive magic and explore the nuances of instruments that are rarely used expressively.
So the focal point becomes, as it perhaps should, Miss Glennie's artistry, particularly two nice cadenzas she performed on the cymbals and high-hat and on the drum set respectively, accompanied by tinkling percussion instruments played in the balconies.
[3]Paul Griffiths of The New York Times wrote, "If uncertain in form (...), it included many beautiful moments, for the orchestra with or without the soloist."
He added:Late in the piece, two percussionists on the highest balcony struck up a dialogue of tintinnabulations with Ms. Glennie, and these two continued into the conclusion.