The forms of all the pieces on Pomegranate arise from the desire to create narrative out of a non-linear form; the inspiration for this comes from the films of Peter Greenaway, specifically the Pillow Book.
widening circles reach across the world
This piece was written for Tom Varner. As such, I attempted to create a context that fell comfortable for him; I also wanted to write something that reflected how he writes. Additionally, I aimed for something of a Mozartean lightness.
the motionless blue of fallen skies
I wrote this piece for Mark Dresser. In it, I attempted to utilize some extended technique textures which Mark finds so useful in his sound-world when he is composing; I do not mean that I used his techniques, only that I tried to create a flavor of his world. Additionally, I wanted to picture a watery world. Of the three pieces on Pomegranate, this is the only piece that has anything remotely like a programmatic section: the last third or so of the piece is sort of like a walk through a formal garden where Mark thinks back on the "friends" he made earlier in the piece.
flare up like flame and create dark shadows
This piece was written for Vinny Golia. In it I tried to get Vinny to do something which he doesn't always do. To this end I tried to write something that had something of a Mahlerian lieder (i.e., Ich bin der Welt abhanden gekommen) quality at the beginning. This choice also prompted the use of the sopranino saxophone as it has something of the quality of an oboe about it.
the darkness of each endless fall
Written for Nels Cline, I wanted this piece to be apocalyptic. I also wanted to create a piece that would reflect many of the pieces of Nels' musical personality.