Music archive entry

It seems the de facto standard for aesthetic perfection is perfect symmetry; whether it be in the form of a flower, a tree, a leaf, or in architecture. But is an identical mirror image of half of something always the most interesting version of it? Several years ago, I began to notice non-symmetry in architecture; starting with the architecture of the Bauhaus school and continuing to take note of non-symmetrical design through and into the International style of architecture. It was as if a symmetrical pattern or design just dissovled into the background of it's setting; never making it's own statement or placing any onus on the observer to consider a non-symmetrical design on it's own terms as a separate element. I found myself drawn to non-symmetrical architectural forms, and soon thereafter began to seek out more organic examples of asymmetries. I began to notice examples of non-symmetrical shapes and patterns in nature. To me, this seemed to be a far more attention-grabbing aesthetic than that of a perfectly symmetrical shape.

It wasn't long until I began to hear internally musical structures which seemed to be born out of settings in or elements of nature which bore a singular uniqueness based upon their lack of symmetry. These compositional structures did not fit into any prescribed or pre-existing form or mold, but instead began to take on their own shape. A structural shape which was anything but symmetrical. This was the genesis of the Bilateral Asymmetries series. Bilateral Asymmetries No. 9 is constructed for a time-honored instrumental grouping: the wind quintet. But there all similarities to most compositions for wind quintet end, as each instrument is treated as an equal voice; each it's own bilaterally asymmetrical element in this setting.