As the title suggests, this piece is part of a cycle of works for solo instruments; the Latin word Soliloquy (Solus - alone, Loquy- speak) was the ideal starting point for it, which began with my Soliloquy I for Solo Violin premiered at the 2000 ISCM World Music Days Festival [...] I find the marimba a very exciting instrument to write for, and in this work no note is spared within the five-octave spectrum. My idea was to treat the marimba as if it were an orchestra with a huge range of colours and a number of individual lines that constantly interact with one another. Whilst the intention here was to explore thoroughly the technical vocabulary of the instrument (and in this respect this is a virtuosic piece), there are substantial slow and slower sections, which focus on the expressive elegance and the warmth of the mellow sounds in the middle and lower registers, presenting the multifaceted canvas of this most versatile instrument [...]

An important aspect of the work is its textural contrast. There is little sustaining resonance in marimba (no where near compared to its 'first cousin', the Vibraphone). But this idiosyncrasy of Marimba has been advantageously used in such a way that individual lines are clearly delineated focusing on different registers to create an invariably polyphonic texture [...]