idd ler ▁can ▁adapt ▁to ▁his ▁own ▁preferred ▁inf lections ▁or ▁sp ur - of - the - m oment ▁insp iration . ▁Hay es ▁is ▁one ▁of ▁those ▁players ▁who ▁projects ▁a ▁great ▁sense ▁of ▁long - term ▁purpose . ▁His ▁energy ▁feels ▁as ▁if ▁it ’ s ▁focused ▁on ▁a ▁point ▁that ’ s ▁well ▁ahead ▁of ▁wherever ▁he ’ s ▁actually ▁at . ▁You ▁don ’ t ▁just ▁want ▁to ▁hear ▁him ▁in ▁the ▁now , ▁you ▁want ▁to ▁stay ▁with ▁him ▁to ▁experience ▁the ▁future ▁he ’ s ▁so ▁clearly ▁prom ising . ▁He ▁sust ained ▁that ▁un flag ging ▁sense ▁of ▁focus ▁through ▁the ▁strange ▁t ilt ▁and ▁l ilt ▁of ▁F lyn n ’ s ▁mel od ic ▁writing . ▁And ▁it ▁was ▁in ▁the ▁work ’ s ▁most ▁un rel ent ingly ▁busy ▁movement , ▁the ▁finale ▁which ▁the ▁composer ▁describes ▁as ▁an ▁“ ep ic ▁re el ▁which ▁clim bs ▁gradually ▁from ▁the ▁depth s ▁of ▁anger ▁to ▁the ▁height s ▁of ▁ec st asy ”, ▁that ▁perform er ▁and ▁work ▁seemed ▁most ▁effectively ▁aligned ." ▁ ▁F lyn n ▁continues ▁to ▁work ▁with ▁traditional ▁Irish ▁mus icians ▁in ▁the ▁creation ▁of ▁new ▁concert ▁works . ▁Rec ent ▁such ▁works ▁include ▁The ▁Forest ▁of ▁Or n aments ▁for ▁fla ut ist ▁Harry ▁Brad ley , ▁Five ▁Ét udes ▁for ▁U ille ann ▁P ipes ▁for ▁u ille ann ▁pi per ▁M ick ▁O ' B rien ▁and ▁The ▁Valley ▁of ▁the ▁L un at ics