In April 2008, Steve Schwartz wrote on the Moderated Classical Music List, "Kenneth Fuchs studied with, among others, Babbitt, Diamond, and Persichetti. In sound, the bustling Persichetti exercises the dominating influence, but Babbitt probably wields more in Fuchs's habits of construction. Most immediately, the sound of Fuchs's music grabs your attention in ways similar to Copland's. Bright, lean sonorities – high strings, widely spaced chords, big-shoulder brass, and so on – prevail. Yet, also like Copland, Fuchs has more to offer than orchestration – namely, real matter and argument. Fuchs builds almost all the scores here out of limited sets of intervals or even specific pitches... It's all tonal, even mainly diatonic, although not really minimalist, if you care. However, the means allow Fuchs to take an individual approach to tonality. Key-change means less than rhythmic and textural change. The piece takes shape as we hear the basic building blocks – like individual tiles in a mosaic – slipping into place."