“In its use of quotation, the composition moves between clear, subtle, and disguised representations of melodic and harmonic materials from the piano music of 19th-century composer Frédéric Chopin. While on one hand presenting a playful and inviting point of reference, especially for music lovers and music students alike who may already be familiar with the works of Chopin, the use of quotation in Tidrow’s composition is also unexpected, challenging the audience and inviting their curiosity and close attention.”

Through its use of quotation, the composition moves between clear, subtle, and disguised representations of melodic and harmonic materials from the piano music of 19th-century composer Frédéric Chopin. While on one hand presenting a playful and inviting point of reference, especially for music lovers and music students alike who may already be familiar with the works of Chopin, the use of quotation in Tidrow’s composition is also unexpected, challenging the audience and inviting their curiosity and close attention.

As the composer himself has noted, the work is “a playing field between two musical worlds: one led by the piano and referring to music of the past, the other starring the percussion and dominated by un-pitched sounds such as brushing, scrubbing, scratching, and bouncing.” The strings and wind instruments are meanwhile “torn between a world of romanticism and a world of utter noise, ultimate victims of this musical tug-of-war.”‍