8 minutes, 30 seconds
2004

Composed for Marti Epstein and John McDonald, this work consists of a gently flowing chordal stream in the middle range of the instrument dotted by a pointilistic “arabesque” (John’s word). The two parts are essentially independent, and utilize different approaches to rhythmic notation—traditional and spatial. The harmonic part moves along in a nonchalant manner, unaffected by what is happening around it. The other part dances unpredictably—and has even been performed by a standing pianist, as the part utilizes the whole piano, sometimes above, below, or in the midst of the other pianist. Something of a climax of energy does take place at a point where the harmonic part quotes an “atonal chorale” I composed at the age of thirteen. Lacking any sense of narrative, the piece communicates no beginning, middle, or end. Like many later compositions, the composition can be viewed as a “window” on an ongoing activity: as when, standing indoors and opening a window to the outside, one hears a collection of sounds that were ongoing and will continue upon the closing of the window, the flow of music can be conceived as beginning before and continuing after the artificial boundaries of the composition.