Two contrasted concert pieces.
Underground is unaccompanied and dark in character; Perpetual motion, which has a piano accompaniment, is like a jerky Heath Robinson machine. Both pieces exploit the sonorities and possibilities of the double bass in an adventurous and exciting way.
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All manner of astral bodies are visited in this wide-ranging voyage through space. Each piece is in the form of a march, but the eight marches have very different characters, ranging from the chirpy confidence of A frisky asteroid to the funeral lament of The dying star. This composer being an accomplished cellist, these pieces show an intimate understanding of the problems and possibilities of the instrument at this level.
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Seven light-hearted but carefully written pieces (arranged by the composer from the version for viola) which offer a wide range of colour, character and technique in these portrait-studies of creeping and crawling creatures.
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Seven pieces which exploit the viola’s wide range of colour and character in portrait–studies of crawling creatures in all their fascinating variety.
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