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Ekphrasis (continuo II) is a reserved and reflective commentary on an adagio which I wrote in 1990. It is a commentary on a continuous and ever changing soundscape formed from a lace of repeated patterns.
I had no intention of composing a musical metaphor for architecture while I was working on Continuo. Nor did I want to write a musical homage to the famous architects from Chicago such as Sullivan, Wright or Mies van der Rohe. Neither did I want to engineer any direct reference to the amusing yet reasonable constructions by Renzo Piano whose work I greatly admire. During the course of composition, however, I realized that this was exactly what happened. The musical processes within the fabric of Continuo do indeed have similarities to architectural principles, in abstract form if not in static shape. The musical patterns result in a completely impractical building with no doors and pathways. Its expressive attraction, nonetheless, lies in the contradiction of being thus uninhabitable yet open at any one time for alternative extensions by added new wings, rooms and windows.