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Even the sooner, fluttering passages for flute, which resemble improvisation, are undoubtedly written out. Indeed, if you’re open to hearing this music as having a particular amount of dry humor in it in addition to some astounding creativity, you’ll enjoy it on those terms, and I see no cause to not. This piece, however, only uses microtonalism sparingly, although it doesn’t have a grounded tonality, although in the direction of the tip of the primary motion the viola does certainly play some microtonal figures.

There is nothing treasured or self-conscious about her approach; all of the music flows like a stream, taking within the smooth and the craggy moments with equality. It is almost as if the music is creating itself from the keyboard with out intervention. Listen, for example, to how well Art & Music she captures the loping syncopations in “Forlane” from Ravel’s Le tombeau de Couperin; I’ve …