Metronomic rhythms occur everywhere in Creed's work, from No 180 (Largo, larghetto, adagio, andante, moderato, allegro, presto, prestissimo) which is literally a line of metronomes running at different speeds, to the mundane obscenity of the sex film, which shows a joyless act of penetration in an endless loop without ever reaching a climax.

After a brief Largo, the opening Allegro is cheerful and bouncy enough; that is followed by two middle movements of mediocre quality, a Larghetto and a Minuetto; concluding with the best segment, the Allegro assai, which finally injects a little life into the piece.

This meant the larghetto lacked contrast and that lively last movement failed to regenerate, my interest.