Whilst the music did seem to build from section to section, I thought it a mistake to have pauses between the movements and wanted the work to move onward constantly. In the manner of Ronald Stevenson's mammoth Passacaglia
which is a continuous movement of around 80 minutes and some of its power comes from the steady onward progression [see my review
of Igor Levitt performing it at Wigmore Hall]. In The Richter Scale,
there was a sense of steady building in intensity and complexity towards the eighth section, How to Dance out and Earthquake
which seemed to be some sort of demented rock and roll, a wonderful aural image indeed. But after this the music went more poetic, and I did so feel that we lacked the ultimate climax, akin to the work of Jón Leifs much of whose music was inspired by, and depicts Icelandic natural phenomena.