instrumental quartet

While diddling around on another project, I happened upon the opening gesture of Whirligigs. I spent some time with the new motive, but soon realized that it would not fit the piece at hand. The close-knit harmonies and counterpoint reminded me of saxophone sections from the Big Band Era. The idea developed further into an intricately woven imitative counterpoint. This exciting new texture brought to mind a new image: a field of whirling gizmos, frantically spinning in a strong breeze. Whirligigs was born from these basic elements.

Revised version, all acoustic - previous tape part reconceived for instruments

CeelyMetamir.mp3

Flocks, for flute quartet, was inspired by the annual migration of flocks of birds from their summer home in the North to their winter home in the South. The piece is loosely programmatic, beginning with the first restless urges of some, then even the most reluctant birds, to leave their northern home, through their joyful flight south -- often flying in parallel or similar motion --, to the sighting of their southern home, and finally the quiet of sleep after the long journey.

Autumnal, for flute, clarinet, cello, and piano, was written in 1991 on commission from the flutist James Zellers. It begins quietly, introspectively, with a symmetrical pitch structure that, if left alone, would endlessly repeat itself; a note of dissonance is at last introduced to open up the piece and allow it to go forward. In its consequent adventures the piece begins to dance, at first gracefully, but eventually ecstatically, instruments competing and racing against each other until the clarinet cries out for a halt, not able to continue. The opening material returns, now imbued with meaning not previously evident, and, in a coda, the piece evaporates.