completed in the autumn of 2002. Although the work was composed
on the guitar, I concurrently set about making a version of
it for orchestra. In this sense, the orchestral score represents
far more than an arrangement or “orchestration” of
the guitar version, but rather a realization of the same work
in a different context.
I have played the guitar for many years, I stopped writing music
for the instrument from 1993 until 2001. In hindsight, it is
clear to me that the reason for this is that as a composer, I
felt the need in those times to put my past aside for a while
in order to explore new ideas about my own creative process and
my musical language. Incidentally, my attempts at writing for
the guitar in these years proved to be disappointing – the pieces
would either sound too typically “guitaristic,” or
they sounded contrived and not nearly guitaristic enough. It
was only in a desperate period of creative doldrums in early
2001 that I picked up the guitar and started to write for it
again freely and without inhibition.
resuming composition on the guitar in 2001, I have become aware of a
facet of my musical personality that I have ignored for some
time. The guitar represents
a very intuitive and physical side of my music making, while
my ensemble works, which I hope are no less visceral, grow
out of ideas and expressions of sound that I hear internally.
It is my hope that by somehow combining these two different
creative approaches, I will ultimately come to a deeper and more
personal musical language as a composer.
orchestral realization of Dizzying Array represents
one of my first attempts at uniting these two methods. For more
information on the guitar version of the piece, visit the Scordatura