The Sonata was borne out of an exploration into how compositional process impacts form. I didn't start out with expectations as to how the piece would lay out, save for the overarching idea that I wanted the first movement to pose some kind of problem, the second movement to fail in finding a solution to that problem, and the third movement to find a way to overcome the problem—not necessarily pose a proper solution. The precompositional work, sketches, and initial drafts were heavily theoretical, as everything in the piece is generated out of careful analysis of what came before. The goal was to create a piece where I still had an enormous amount of control over the finished product, but was guided by a process that generated material and rules that governed said material in equal amounts.
released December 19, 2018
Michele Zimmerman, violin
George Mobley, prepared piano
Special thanks to Dr. Michael Rothkopf, John Chapman, Jason Czaja, Kevin Lawrence, and Dr. Dmitri Shteinberg.