Chariot (for two pianos) (composed September 2012) is an advanced-level minimalist orchestral work originally written as a two-piano work. As the nearly six minute work progresses, the amount of time spent in the undulating world of staunch open tertian and perfect intervals gradually shortens while that given over to the more frenzied thematic modes lengthens. The very first section which introduced the miliare idea produce the first series of rapidly mixed inflections of color and textures that become borrowed and those introductory patterns and figurations that operate in continuous harmony slowly become blurred to an ever-increasing ratio.
The topography of the form and the variety of diverse minimalist ostinati – across the entire range of the orchestra – suggest the rippling of wheels across a gravelly road, as the piece disjointedly surges with sometimes stabbing figurations and sometimes tranquil circular fragments, that can be as violent or forceful as a Roman chariot race. In most cases, each hand operates in an elliptical, spiraling manner, generating patterns and lines that operate in continuous harmony with other instrumental sections.
These musical blocks are always articulated by short thematic re-statements in a jaunting, dotted eighth-sixteenth pattern, which act as guideposts to mark smaller repetitious ostinato-like “loops” that form sublayers of contrasting and propulsive internal units that are carefully balanced to off set and counter clarity and attention to the larger forms they support and accentuate.