toward a terminating congruence. presents an exploration of both time—anticipated and remembered—and pitch—imposed, natural, and very human—in the ultimate pursuit of clarity. The piece opens in timelessness, eventually finding temporal traction and condensing into a very slow suggestion of a dance in 6/8. Just as a song begins to emerge from this lilting and increasing layered texture, it fades into a weightless cloud of untraceable particles of sound. The individual is lost in the composite, which suddenly solidifies into a rich texture of quarter-tone harmonies as the second movement begins. The relationships between individual players reflect this complex and unstable harmonic language; the roles are constantly shifting, relationships constantly reevaluated. A new approach to pitch, proposed by a brief moment of melodic clarity in the cello, allows the music to venture into a very different territory of sound as a sparkling and delicate texture of natural harmonics unfolds over the course of several minutes, patiently applying a timeless transparency to the sound world that concluded the first movement. Continuing to catalyze musical development, the cello recalls its earlier recollection of a folk-like melody, which is joined this time by all other members, who one at a time leave behind the sparkling texture to come together in collective song; a song that gradually evaporates, leaving behind only a lingering memory of beauty and clarity.
toward a terminating congruence. was written for the Jack Quartet and premiered in its entirety in Oberlin, Ohio in April 2012. It was the only undergraduate work selected for performance by the 2012 Midwest Graduate Music Consortium, and was also selected for performance by the Oberlin Contemporary Music Ensemble, under the direction of Timothy Weiss. Additionally, it was a finalist for the 2011 Kanter Prize awarded by the MIVOS Quartet.