I chose the instrumentation of the octet for various reasons. It combines instruments whose characteristics I needed for my music: The octet forms an ensemble which is powerful enough to provide forces of orchestral scope, yet flexible enough to grant the composition the transparancy of chamber music. Attentive music lovers will note that the instrumentation is similar to the beloved octet by Schubert: Careful listening will reveal that there are no further similarities.

Every time I write a piece, I want to reinvent music. Avoiding to be intimidated by the rich harvest of musical resources and ways to express musical thought that illustrous predecessors and exciting contemporaries have produced, I pick and choose ingredients for what I have to say from that harvest. Composers are often expected to take the listener in new directions (and are either loved or hated for it) by extending the limits of what is possible on instruments or in musical thought. Therein does not lie the strength of the Octet. Reflective of the past, the music of the Octet has been heard before, but never quite like it. The Octet expresses its essence —provoking the listener's phantasy— using motoric, dance like elements, extremely consonant as well as dissonant harmonies and short memorable melodic gestures, and repetition where necessary. If the listener happens to recognize the influence of a certain composer, I hope it is a good one. If I happen to have ended up in uncharted musical waters, I hope the listener will appreciate the experience.

The form of the octet is a suite in which two short, lively movements enclose two more intense and dramatic movements. The first movement, Spring, introduces the instruments as well as the musical events to remember them by. Active and chipper at first, it's energy dissipates to make way for the second movement.

Here, the material of the entire opening passage is based on a four measure melody presented and then represented using principles of inversion and retrograde. All resultant harmony is a consequence of a strictly followed canon in dorian mode. The other instruments pick up the melodic material, but in a much freer, contemporary setting, slowly introducing chromatically more complex harmonies. After a more active and tense middle section, the serene atmosphere of the opening returns, the canonic material going through all the remaining church modes before closing the movement on a deep vibrant harmony.

The third movement, allegretto grazioso, gently breaks the quietude of the previous movement. Gradually, the movement becomes less gracious and more serious, resulting in several climaxes. The trio section of this movement returns material from the first movement in a much more intense setting, leading to a much different outcome. A brief recapitulation lets the movement end in resignation.

A short last movement crowns the piece in the form of a neck breaking dance: It shows off the instruments, represents previously heard material in fresh settings and above all, it sports sharply accentuated foot-tapping rhythms. The present version of the Octet is a revision of the work commissioned by the Chicago Chamber Musicians in 1998. Although the composition has remained essentially the same, many edits were made in phrases, instrumentation and overall texture. I wish to thank Cliff Colnot for all the advice he has given me in preparing the piece for performance, for his dedication to the music and for being an inspiring teacher and mentor.