Abstract
Light-hearted and playful throughout, the Concerto for Five opens with a post-minimal take on Bach and Chopin, then moves through various surprising musical juxtapositions (including Erik Satie inflected by Gill Evans) before finishing up with a Beethoven finale in the style of a Piazzolla tango. The soloists play music that is part-notated, part-improvised and part-devised.