Nonet No.4

For the detail-oriented, this piece displays a radically different approach from my usual pratice in the succession of tonal centers. Generally in the past, each of my works of any length has been divided into twelve sections, each based on a step in the tone row: typically a four-movement composition would change tonal centers three times in each movement - or some variation on that pattern. In this nonet, the Allegretto first movement proceeds through the entire row in successive one-minute segments: C-Db-E-G-A-Gb-F-Eb-D-B-Bb-Ab. The second movement Lentissimo returns to the beginning of the row (C-Db-E) and steps through tonal centers with each of the internal tempo changes; and the Finale Allegro molto con brio finishes the second iteration of the row (G-A-Gb-F-Eb-D-B-Bb-Ab) - again in successive one-minute segments. This is, of course, entirely "inside baseball," but some obsessive-compulsives may appreciate the heads up.

My apologies to certain instrumentalists for falling down in my intention to give equal time and interest to every member of the ensemble. In examining the parts, I discover the violist and cellist each have 14 pages of notes to negotiate, while the violinist (usually the hero in compositions like this) only gets 13 pages; the English horn has 12; oboe, bassoon, French horn and trumpet all have 11; and the poor trombonist only gets 10 pages of notes to navigate. Hopefully the fact that the trombone is given 12 measures of pure solo at the very, very end may mitigate the otherwise seeming neglect of their talents and potential.