Description
The music makes specific allusion to folk-music from the Solomon Islands and the African Transvaal, in addition to more generalised European traditions, and the composers (Bartók, Berio and Xenakis) whose work in some way derives from them. The final section revisits 18th century ways of referencing (and civilising?) folkmusic, by means of a rather ungracious parody of Joseph Haydn’s String Quartet Op. 50 No. 2.
