THREE IMAGINARY AFTER HADID (2007)
The work’s title refers to three interlocking musical states. Each of these can be regarded as “panels,” reminiscent of Rothko’s paintings. However, unlike Rothko’s panels, which share a common texture but vary in color, these musical states exploit different textures, but share a very consistent harmonic field.
Each of these musical states also invokes a distinctive type of music. In this sense they can almost be considered as meta-music. The first one is archetypically jazzy. In fact, rhythmically it is based on an abstraction of a Miles Davis work. The origin of inspiration for the kind of texture found in the second part is based on Sclesi. The last one is minimalistic in essence. Like the first, it’s an archetype of pulsating minimal music.
Although the character of each panel is distinct, the boundaries are blurry, as if one blends into another in constant flux. While a common harmonic field is used throughout the piece, the work’s panels develop into three different perspectives of the same musical space.
The score is availble through Babel Scores.