Matthew Greenbaum writes:
"Tracing the preconscious associations that generate a musical work always yields curiosities. Consequently I was only slightly stunned when I discovered Francois Couperin, Webern, Thelonious Monk, the conductus, and a Beethoven cello sonata among other "repressed" presences in the "unconscious" of Chamber Music.
"I found in addition that the basic structural device of the work — the use of brief quasi- diatonic sequences, each obliterating the tonality of the previous one — was a pattern that lent itself to embracing this rather hectic variety of associations. These sequences create surface tension in the composition as well contributing to its form (the work's three sections may be read as a sonata, chaconne, and canon)...
Lee Hyla writes:
"The String Trio was written for Dinosaur Annex in 1980-81. The basic idea of the piece is the relationship of the relatively simple tune, heard in the violin as the piece begins, to its angular and dramatically contrasting accompaniment. The music develops through two minuet-like sections and one quiet variation of the tune, and is brought into focus by two literal returns to the opening, one occurring about a third of the way through the piece (after the frst of the "minuets"), and the other arriving at the very end.
Elaine Barkin writes:
"Fuzzy particles diffdently imprint their traces, unhurriedly stake our their territory, abundantly fourish in their articulate, recolored, suffused fluting and—once fully affirmed —recede in the flickering aftersound of their history.
"Plein (= full, not plain) Chant (= three 5-toned tune-shapes) was written in 1977 for Anahid Nazarian, who requested a 'special effects' piece for her senior recital at UCLA."
This title, originally issued on the CRI label, is now available as a burn-on-demand CD (CD-R) or download in MP3/320, FLAC or WAV formats. CD-Rs come in a protective sleeve; no print booklet or jewel case included. Full liner notes are accessible via the link above.