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Temporary Structures (2009) for oboe, clarinet, alto saxophone, viola, cello, and piano. The challenge I set up for myself in this composition is to start with a simple idea of alternation - passing evolving gestures back and forth between individual instruments and instrumental groups (winds, piano, and strings) - and expand it to have both local and global implications. At a basic level, the local alternation between instruments is translated to a formal alternation of entire sections. I relate the evolution present within local materials to a formal compression of gestural idea - as the piece evolves, the instrumental motives become more subdued and inhabit a narrower range. In a sense, this work explores a parallel structural/gestural language re-orchestrated and ļ¬ltered through each of three successive formal sections. This overarching diminuendo (the opposite of many formal strategies) is as intriguing to me as it is challenging to effectively realize.