......(2002) is one of many works I have written that explores the friction between the performer, the instrument (in this case the flute), and the score. The piece, as written, is a kind of tablature that contains instructions for activation of the three different mechanisms involved in sound production on the flute: the hands, the breath, and the embouchre. Each of these mechanisms takes on its own musical identity. While, to the listener, each seems to be acting independently of the others, it is the coalescence of the three that makes the sound world of the piece possible.


Writing on a Manuscript (2002, rev. 2003) is a set of free variations on the Sinfonia in f minor of J S Bach. Various aspects of the Bach (written as an abstract compositional exercise for his son) are brought to the fore through the use of instrumental idiom, while negating a clear sense of pitch and (at times) rhythm. Thus, the Sinfonia, while constantly being referred to, is never actually heard explicitly. The piece, then, becomes a dialogue between what is heard and what is not, what is composed and what is actually perceived.