Circle, I thought, should begin with metal and end in wood.  Metal gets your attention and wood provides the solace.  I thought, let's try a new form.  We travel from percussion metal to didjeridu, then to bassoon, to wooden percussion.  And then, finally, everyone together at the end, coming full circle.  We did triple trackings (superimposed improvisations), so I was able to judge and cue instruments in this context.

We took several takes of different layers, aware of the danger (which is often expressed in the studio) of over-analyzing, approaching sterility and losing the spontaneity.  There were recorded layers in Circle that we didn't use.  We very carefully wanted the second layer to match the first. The third layer turned out to need to be less thick, more filigree, more like the ribbon that ties it all together.

While I certainly wouldn't call Circle new age, its got such vibrancy in its Klangfarbe as a result of the studio.  In fact, I can't imagine it being performed live.  It's the only piece that I have that I wouldn't perform live.

Sketch for studio realization of Circle
(also available for download in high-resolution)


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