Crosscurrents takes the form of a concerto with the tape providing expansions and extensions of the harpsichord material using different combinations of synthesised and recorded sounds. These were created using various electroacoustic techniques of sound generation and manipulation including computer synthesis, MIDI sequencing and the traditional techniques of musique concr�te.

The piece deals with various forms of interaction between the harpsichord and tape suggested in part by the different characteristics of the sound-world produced by the idioms of the instrument (including the mechanical sounds only revealed fully under amplification). In the first large section of the piece, the tape and harpsichord combine to form a single 'meta-instrument' or 'tutti' which alternates with short solo harpsichord passages. As the section progresses, the general tendency is for the tape and harpsichord to move apart from each other culminating in cadenzas for both harpsichord and tape respectively. The second and final section works back towards a further fusion of the two elements leading to a final da capo section.

Crosscurrents was awarded an honourable mention in the 1994 Prix Ars Electronica and was a selected work for the 1993 International Computer Music Conference in Tokyo. ;