In Harvey’s Advaya live electronics are used to explore the liminal areas in which different kinds of sounds meet, be it the boundaries between pizzicato, tapping the instrument and the juddering sound of heavy bowing, or between a singing cantabile line and almost literal simulation of the human voice. The work remains first and foremost a showcase for the cello, Harvey’s own instrument, with the fantastic landscapes around the instrument being reflections or projections of it.

‘The interplay between cello and the extra electronic voices and sounds are sensationally effective. Harvey’s wild ingenuity left us awestricken.’
Financial Times (David Murray), 22 November 1994