While the work gives much scope for improvisation, the five movements form a more musically coherent whole than In C. The fascinating, repetitive music evokes dancers moving to and fro who constantly seem to lose their balance. The other two compositions in this concert also sound like independently rotating mechanisms. The rhythms in Hindemith’s Kammermusik no. 1 from 1922 resemble a well-oiled machine whose cogs grind unceasingly. In Louis Andriessen’s De Snelheid the percussion accelerates inexorably; this is minimalist music that exerts a compelling and captivating magnetism.