This broad piano concerto is split into a series of ten main sections and some additional fragments of material. In each principal section I wanted to explore different kinds of interactions, expressed musically but not necessarily musical in nature. In fact, the interactions I chose were deliberately very general. They’re so general that they’re quite difficult to describe concisely! They’re defined by activity and passivity as found in moments of cooperation and of independent operation. While this might sound very abstract, examples of, say, active cooperation are easy to find in all aspects of society and human relationships.
I didn’t want to focus on any particular type of interaction in any one area of life; I could easily have written an allegorical piece of music looking at cooperation and independence, active behavior and passive behavior in politics, economics, religion, national culture, or whatever. Instead I wanted to explore in music the basic relationships that underpin these interactions in all their expressions. There’s no goal in A boundary is sometimes drawn – no endpoint with a definitive resolution. In partitioning the structure (and by framing these partitions with silences) I wanted to draw attention to each different kind of interaction. As elsewhere life, the same interaction is sometimes expressed differently in different parts of the piece. Also like everyday life, nothing happens in complete isolation. Crucially, I don’t see A boundary is sometimes drawn as a series of separate vignettes brought together under one title; rather, I see it as a series of moments, artificially held apart, but still constituting a wider, unified whole.
Powered by Wordpress Theme by Goodlayers