violin, cello, trumpet and piano

Commission: The Banff Centre for the Arts, with support from the CCA

Introduction; Mild Admonition; Austere Reflection; Calculation: Acceleration and Convergence; Uncertain Gathering; Rant Interrogation; Remembrance Day, Part I; Remembrance Day, Part II; Promenading with Others; Random Eclipsing; Calculation: Palindrome in Five Simultaneous Speeds; Distant Wisdom; Accelerating Ostinato; Calculation: Motive Phasing in Five Simultaneous Speeds; Rant Irritating in Simple Form; Eolian Texture: The Voice in the Chimes

Presenting different faces of time in music, the collection of brief movements that make up Timepieces — 17 Miniatures can be grouped into four categories. Comprising one category, movements 4, 11 and 14 each express time in terms of a strategic organization — that is to say, time itself as a distinctive structure, formation or process; a category of movements distinguished by simple motives or musical ideas that unfold relatively complex structures of time. Containing eight movements (2, 3, 5, 7, 8, 12, 15, and 16), another category expresses ‘time’ in the programmatic sense, with each movement an impression (either experienced or imagined) of one event circumstance, activity, mood, or even gesture. Movements 6, 9 and 17 comprise another category, and are perhaps described best as combinations of the organizational and programmatic expressions of time (presenting time within time, as it were). Both movements in the remaining category express time through dichotomy: the fixed musical ideas in movement 10 are presented by may of random coordination; the two layers of accelerating activities in movement 13 are presented by way of one unchanging, underlying tempo. By contrast, the first movement is not about time at all and has the uncomplicated purpose of introducing the ensemble’s four voices.

  • Recording: CD: Arktos 20039/40