On the rhythmic front, 'Kelly Ground' is derived from the polyrhythmic superimposition of pulses in simple ratios, an image evoking the tolling of bells, which also comes into clearest focus in the final sections of the work. Whether or not the listener is aware of any of these technical concerns, the work makes a startlingly direct and expressive impact in performance. The piano writing is resourcefully varied, from the lyrically evocative 'aria for Kelly' (section 4) to the ferociously rebarbative 'aubade' which precedes it. The haunting final section is daringly simple and affecting in its naked harmonic focus, being perhaps equalled only by the similarly bold conclusion of Copland's Piano Sonata in this regard.