Black Magic (composed February 2013) is a breathtaking orchestral work that is seething and subtly rich with a lurid perfume of darkly breathing tapestry of highly complex textures. It is unfailingly colorful, often lyrical, and ultimately appropriately disturbing. A gritty, lustful and unflinchingly visceral affair in thickly layered, well-characterized and beautifully set up tensions that ripple through the score and permeate it until well-timed, gripping climaxes.
It is a vivid, theatrically dark experience firmly rooted in an abstract, occultic language of foreboding textures, atonality and a myriad of special effects with touches of the well-structured raw, high-powered, apex and plentiful contrasts of undulating, syncopated and breathless rhythmic undercurrents. It is lyrical and jagged melodic interest is not lyrical but does give ample room to draw breath and nurtures the powerful virtuosic moments of instrumental frenzy with heart-stopping passage work that is opulent and post-avant-garde. Meticulously crafted, it ensures a fusing of rigorous contrapuntal repartee with fleeting flourishes and surprises that are imaginative and moody – a collapsed 12-tone piece that begins its language in Webern and displays finely colored performances that are technical, decorated and beguiling.