Bouchard’s work is full of timbral puns that play on the similarities of tone lurking within very different instruments. Pourtinade, for instance, drew out an astounding degree of family resemblance between Doug Perry’s viola and Trevor Tureski’s mallet percussion. Le Scandale, for four strings, harp and percussion, often treated the sustaining instruments as though they were mutations of Tureski’s battery.

By Robert Everett-Green