Imagine the orchestra as this sort of complicated 19th-century futurist machine, all moving parts and cogs and gears, and little people. I find that sort of fascinating. But every now and then, I just want to throw a wrench in and see what will happen.
Andrew Norman is ready to show you — at least through sound — just what happens when he tosses a wrench or two onto the concert stage.
The first two movements, “levels,” are all but chased around the stage by a triple percussion section, the whole event bounding through time, fresh, invigorating, challenging, fun.