Flux reflects and challenges the individual perception of time that is so different for
everyone, especially during social isolation. Its interlocking morphing gestures ought to
create a seamless borderline between what is the foreground and background. The freedom
for an ear to gravitate toward small gestures or follow a larger arc reflects time’s
relativity. While the time passes strictly metronomically, the independent musical lines
join in the common flux of chaotic moments that sometimes achieve to crystallize in such
sought-after togetherness but often do not manage to keep together for long. They become
either interjected by another gesture or simply being cut off, much like the feeling of many
of us being at the sea of thoughts, both positive and negative, without the ability to see
the horizon in the main course.
Collaborating with Emma Lanier confirmed for me the basis of my piece; how each of our
perceptions of the music’s embodiment of time’s capriciousness differs. Hence, giving the
freedom of choice as to which musical aspect is drawn as an inspiration for the motion.

Special thanks to the wonderful Emma Lanier, Choreographer and Collaborator; and
Joseph Woodward, Artistic Planning Coordinator, San Francisco Symphony
With a dedication to Nico Muhly.