for solo piano
This piece takes the general form of a quatrain and, specifically, the form of a pantoum, a poetic form in which lines are repeated at certain points in the text. The four main sections of the piece begin at measures 1, 41, 82 and 119 and these larger sections are further subdivided into 16 shorter sections in which other repetition techniques, particularly symmetry, are applied.
The music is characterised by strongly independent polyphonic lines which require from the performer a continual process of resolution of the conflicting demands of perspectival (foreground/ background continuum) shaping. The performer is expected to deploy her/ his full aesthetic arsenal in this process. To aid this process the use of the three pedals is deliberately not specified anywhere in the score and may by used at the discretion of the performer.
To ease reading, pitches are notated in the ‘dodecaphonic’ manner, i.e. each pitch class (with one exception) is spelled in an absolute manner, each with an accidental and without enharmonic equivalents. The 12 pitches are therefore named as follows: c♮, c♯, d♮, e♭, e♮, f♮, f♯, g♮, g♯ or a♭ (depending on context), a♮ , b♭, b♮.
Duration: 8 minutes
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