The initial idea of this work was to imagine that every piece of musical material grows from very small particles of sound that expand and contract.
I think this idea has come from my experience of work in electronic music studios, where a technique I often use is to granulate melodic material into small particles.
The smallest particle of sound in this piece is one staccato note. I sculpted its sonic qualities as if I were working in an electronics studio. Sometimes the staccato note becomes more rounded; sometimes sharper.
It was quite challenging to start a piece for full symphony orchestra with only a solitary staccato note. However - since the note was continually growing it caught other notes as if its original source was a melody. Ever increasing it eventually turned into a phrase.
So - starting with just one note I grew a phrase which then transformed into a slow moving melody. This melody consists of linked chords which are melodic in form and line. It is built out of rapid figures that fade-in and fade-out, and are played by various instrumental groups. The instrumental sonority changes continually so that we can never really know who is playing the melody since, by the end of the piece, every instrument is contributing to it. This last part could be described as "juicy" or "meaty".
When I write I try to consider sound as something which is not only aural
but also visual and tactile. I imagined what it might be like to "taste" the
texture of the perpetually changing sonority of one big phrase created by