“Even for composers known for their way with a lyrical line and satisfying harmonies, the fit between the movements was remarkable. Each was imaginative and distinctive while also flowing naturally from one to the other. The consistent approach was impressionistic: Puts used a rising do-re-mi-sol figure as his foundation; Meyer’s music cycled over and around itself; Heggie’s flames were in the dancing energy; for Higdon, air was a tender, slightly melancholy Sibelius-like landscape; the feeling of space for Montgomery came through in a questing quality, as if Bell was setting off on an enormous endeavour.”