Hence my obstinate emphasis on stylistic continuity from work to work rather than specific sibling relationships between the individual work and other members of its stylistic 'family' in the world outside.

The past nine years in San Diego have represented such a period of questioning.

This was possible only by dint of extended periods of frequently quite painful reflection and digestion.

In my own recent String Trio I attempt to superimpose two quite different sets of formal strategies, both of which, ultimately, refer back to historical precedent.

What makes a specific quality or quantity of innovation retain its intense newness over the years?

When I speak of "cycles," I am referring to lengthy intervals of relative homogeneity, if not in the resolving of problems, than at least with respect to the consistency of their capacity to productively irritate.

I suppose that the scope and implications of such forces have rendered my personal accounting ritual pretty much obsolete. That's how things sometimes go.