Meijering’s language is arguably romantic and at times cinematic, but always highly individual. Dan Laurin describes it as walking “on shards of memories. I seem to recognize bits and pieces of broken melodies, harmonies and gestures, of times past… but the musical landscape is changed; it constantly changes…” It’s hard to pin down, and this is part of the fascination. Meijering doesn’t go in for alternative techniques and funny noises, and while there is some ornamental flourish and plenty of stunning playing these are also works that are more about music than about virtuosity. Without falling into stereotype this music to me is very much about the joy of being alive and the sheer vertiginous delight in having the ability to craft such objects, and the scary drive which compels their creation, chased and driven as are we all by the short fuse of fragile mortality. As such these pieces convey pleasure and enjoyment without imposing ego or layers of intellectual artificiality. 　　by Dominy Clements