I wrote part of this piece at the end of last year. It, like the last movement of my Viola Sonata, is in a semetrical mode consisting of the pitches, C, Db, Eb, E, F#, G#, A# (Bb). I feel it is very different from most of what I have written before, though still considerably conservative in sound as the clusters I use are more effects than part of the specific harmonic texture. I feel that it is different because the affect of the work is considerably darker than all of the other works I have written. I have my own reasons why this may be, but instead of forcing my intentions down your throat, I’ll let you glean your own meaning from the work.
As I said earlier, I wrote part of it several months ago, let it sit for a while and then completed it earlier this month. Thus, it is clearly in a two part form, with the second part, nearly identical to the first excluding the re-transitional and coda material. The difference between the parts essentially is I’ve turned the grave eighth notes section in the second system and later on used those pitches in the extremely fast runs of 64th notes.
Enjoy the part below the break!