At its core, Variations is a simple theme and variations form.  The theme is clearly presented and then serves as the generational material for all that follows.  While the sound is that of an extended orchestra, it’s unlikely that it could every be played by humans. In fact, there is not a written score as such, for reasons that will become clear.

As a composer, I’ve always been intrigued by time and our perception of it. I’m certainly not alone in that.  Composers such as Ives and Carter have found fertile ground in the use of multiple time streams.  Variations takes this a little farther. Back in the 1990s, I wrote a computer program (since lost) that allowed me to create multiple ensembles within the ‘orchestra’—each with its own ‘conductor’.  These ensembles all had their own material (for this I created MIDI files) and could proceed in unrelated tempi. They could synchronize with one another at key points and reform into other ensembles.  There was also a significant amount of aleatoric performance as well.  Over all of this was a very strict set of rules that kept control of form.  I had a very clear idea how the piece should go.  I simply let the computer help with small details.  For a time, I was able to generate multiple performances, each varying in small ways. I can no longer do that, so I chose what I felt was the best performance, recorded it and then moved on to other work.

Does the listener hear all of this?  Not really.  These techniques are merely the means to an end.  The piece is a complex and dramatic piece (somewhat tonal in some places, others with free atonality).  You might pick out an ensemble within the larger group, but that probably won’t happen unless you know the piece well.

Recently it occurred to me that I might revisit the piece and remix it in an immersive format. Luckily I still had all of the separate audio tracks along with the MIDI files generated for performance.  It also occurred to me that the hardware synthesizers I used in the 90s could be improved on.  I’ve now used modern sample libraries which have given the piece greater realism. As it stands now, perhaps 20% of the older sounds remain and the rest are new.  I may revisit it from time to time and perform further tweaks. But it’s time to park it again

This recording is rendered from an Dolby Atmos mix. It is presented in a binaural format which will work both on speakers and in headphones. You can listen in its entirety or sample individual sections.

This is the sort of piece that can be revisited from time to time as technology advances. But I can’t say that I’ll come back to this particular piece.