Song Description

The idea of the moment, immanence and boundaries was important for me to get across. The abrupt cuts in this piece were meant to portray fleetingness, like the chapters of a book. The piece is both atonal and tonal, having experimented with various techniques of Claude Debussy, Arnold Schoenberg, Nikolai Roslavets, Luigi Nono, Iannis Xenakis and Natasha Barrett. Tadvanalila, Part II investigates the resetting of instrumental and sound-object phrases amongst varying material. There is constant resolution of dissonance, with moments of considerable consonance juxtaposing the dissonance, and an end fading to oblivion. It is highly lyrical and melancholy, but just when a theme begins to develop it inevitably veers off course. I wanted it to evoke peace, beauty and terror with fleeting, incarnating forms of complexity.