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The heroic opening heralded a propulsive interpretation, guided by hemiola rhythms but emphasized in mighty sforzando accents and thrillingly veering dynamics.

In “Marimba,” the accented upper line creates the hemiola with a group of three notes in syncopation against the groups of two.

Where “Xylophone” relies on syncopation, though, “Marimba” works through a related compositional element known as hemiola.

A hemiola is a specific type of syncopation, featuring three beats where you would intuitively expect two.

The influence of oOther composers’ influence shone through, too, with barbaric-edged Shostakovich in the third movement and folklike hemiola patterns, recalling Brahms or Dvorak, in the fandango-fast finale.