The twelve pieces on this album reflect an ongoing interest in the temporal processes underlying musical creation from two apparently contrasting yet ultimately similar musical contexts. Post-modernist, systems-based pieces for traditional classical ensembles stand side-by-side with more static electronic works. In the former category the obvious reference points might be the work of Steve Reich and other minimalists but in contrast to the extended time-scales operative in such work, the pieces on this album are decidedly more ‘miniaturist’ and ‘melodic’. In some cases, certain of these pieces are ‘musical portraits’ of iconic figures – Wittgenstein and Sophie Scholl – reflecting either an emotional response on the part of the composer (‘The White Rose’) or a transposition of ideas into musical structure(‘On Logical Form’). The statement made by the English composer, John White, in reference to his own work could also be applied to some of the pieces on this album: “System and Sentimentality are the SS of my Reich”. In apparent contrast to the obvious classical minimalism of pieces such as ‘Parkhouse Hill’ and ‘On Certainty’, the electronic works on this album deal primarily with time-stretching of found acoustic material in order to give the listener a new musical perspective and coding of the familiar. For example, the final chord of Wagner’s ‘Twilight of the Gods’ in ‘Abscheid’ becomes transformed into an extended ten minute sonic stasis, transcending its original musical context
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