My work is often inspired by nature’s geometry, structure and textures. As if writing music could begin by staring with a magnifying glass at nature’s elements: water-gas-rock formations-chemical reactions, creating from these images a series of abstract landscapes.
I seek to express emotional experiences in their most raw form, without a literal or narrative setting. Like a collage of different perceptions that eventually forms a whole picture, I attempt to create a world from “real time” experience: reconstructing an imagined emotional event that unfolds in a compressed time frame.
Frequently my pieces start abruptly as if the music has been going on for a while; there is no introduction, no development, just the most condensed version of the untransformed material. There is a dramatic quality to this approach. Whether the works themselves, or the shifts from section to section in a single piece are spare or complex, I am looking to evoke something that is, in it’s own right complete. Music is color, texture and rhythm and the live instrumentalists create the alchemy.
Since 2000, I have become particularly interested in the way our artistic traditions are evolving through the integration of electronic and digital tools. As a composer who wrote solely for acoustic instruments for 25 years, I come to this exploration from an artistic place that is firmly rooted in the acoustic musical tradition yet, I notice that the overall landscape of my music and the minutiae of its textures are progressively changing with the addition of electronics.