Compositionally speaking, the work brings together three separate streams I have been developing in my musical language. One is my experience in writing for percussion instruments, most especially in the works for acclaimed percussionist Dame Evelyn Glennie. Another is my on going pursuit in developing my pianistic language – the tactile and gestural elements (or “signatures”) that define my own performance practice for the instrument. The third is my own manner of writing for string instruments that I been developing over the same period of time. Kickin’ It 2.0 therefore represents the confluence of all three streams. The players are all featured on equal levels of importance as they maintain their constant dialogue with one another while covering a wide expressive range.