The dynamics also varied in this movement, from mezzo piano to forte. This aptly named movement made me think of a car chase scene in a movie. With the moments of action occurring simultaneously with high ranged and fast tempo notes. I did not really get closure on this scene however, because the movement ended awkwardly on an eerily high pitched note. The performers in this set took only three distinguishable breaks, making it difficult to identify each movement individually. The only movement that I am sure of its length is the first one, because of the abrupt ending it had. I think part of this confusion was due to the fact that Cadenza was the second movement and not closer to the end of the set. Cadenza by definition is, "Virtuosic solo passage in the manner of an improvisation, performed near the end of an aria or a movement of a concerto." While McAllister showed great technical ability in this movement, it was not an improvisation, because in the program notes, it was said that Heinick was the composer. However, what I have recorded as the movement, contained a great deal of emotion. As I listened to the music I received an image in my head of a man who was losing his mind over the death of his friend. Another reason I recorded only three out of six movements is because after the first movement, there was a very disjunct melody, with a wide range, and very long pauses. Plus, being a fairly recent composed piece, there was a lot of harmonic dissonance with many soft cadences played decrescendo, so when the performers did not adjust themselves or their instruments at the end of the movement, I found it hard to decipher whether they were playing the same movement or starting a new one. I am unsure of what actual movements make up the last two movements that I have recorded. The last movement that I have recorded starts with Heinick on the piano playing single notes with brief cadences in between them.
