Enhancing a live electro-acoustic performance with post-production intensification, reverb and panning, British sound designer Matthew Wright emphasises more textures from this sophisticated composition that goes beyond Third Stream. He uses turntables, live sampling and processing to extend and sculpt the sounds,

Based around the continuous emphasis of the brief descending pattern that characterize the theme, Wright surrounds and extends timbres with the score reading from the Dutch Ensemble Klang of trombonist Anton van Houten, saxophonists Michiel van Dijk and Erik-Jan de With, keyboardist Saskia Lankhoorn, guitarist Pete Harden and percussionist Joey Marijs. Added are improvisations from his own UK Spheric Totemic group of keyboardist Alexander Hawkins, violinist Mandhira de Saram, bassist Neil Charles and drummer Stephen Davis. Additional modulations are applied from the acoustic instruments while the lyrical wordless vocals of Swede Sofia Jernberg float in-and-out of the mix.

Experienced in sounds for dance, theatre and film and a long-time associate of Evan Parker in improvised electronic projects, Wright's sonic seasoning means that the division between improvised and notated parts is virtually erased. While the tremolo theme may be replicated precisely by Marijs' vibraphone sustain, Harden's string clips and Lankhoorn's keyboard stresses, deepened horn riffs and smears are live-sampled so their presence alongside violin glissandi is often unexpected and aleatory. Meanwhile improvised and contrapuntal variations emanate from Charles' irregular pumps and strums; Davis' bass drum whacks, nerve beats and rim shots; de Saram's spiccato arco spills and pinpointed glissandi; and especially Hawkins alternating between precise piano cascades and a reflective cushion of organ stops.

As the distinct program proceeds the performance thickens, especially in its penultimate minutes as the electronic impulses and stacked instrumental textures are most obviously joined by wavering and murmuring vocals. The finale involves a descending wail, but such is the integrative skill of the program that the question of whether that sound is vocal, instrumental or processed is left unanswered.

Cracked Glaze began as a festival commission and certainly lives up to advanced expectations.