The essence of Cyclic Symmetries can be found in its title; the work is in fact both cyclic and symmetrical. On the largest scale, the five movements form a symmetrical arch of tempi: Allegro-Andante-Presto-Andante-Allegro. In addition, the harmonies of each movement are based upon an symmetrical chord. The cyclic elements were born from a desire to add physicality to the work: harmonic progressions and rhythms, as well as phrase lengths are repeated, and varied, but align with each other only rarely, in much the same way that cycles are repeated within ourselves: respiration, heartbeat, etc.

While these elements provide cohesion, they tend to work in the background, behind my primary concern, which is to provide each movement with a clearly defined character. The first movement's surging, angular lines and oscillating inner harmonies begin the work with a dramatic barbarism. The melodic lines are greatly softened in the second movement, creating elegant, floating shapes over a harmonic and rhythmic ostinati. A slow introduction to the third movement is quickly revealed to be the material for the maniacal, mechanical scherzo. The fourth movement returns to the more graceful lines of the second, here over a chaconne. The final movement is again angular, aggressive, and even obsessive as it drives ceaselessly forward.

-- R.C.