At the time of writing (inter)play I was interested in creating simple global frameworks which allowed the ear to concentrate on the details of individual sonic events and grains of texture which the electroacoustic domain offers. The broad structure of (inter)play is very straightforward. It is in two parts, each having similar material and function. Musical interest lies in micro-structures: details of texture, gesture and proportion, emphasised by careful spatialisation. The piece uses sounds which are breath-like, or breath related; phrases consciously employ breath shapes and patterns, and the overall structuring is concerned with cycles of breathing. The piece is, therefore, in a sense homophonic, in that, although there are sometimes many layers of sound, they all move as one line towards the same goal.
Selected for performance, ISCM World Music Days, Hong Kong, 1987; on CD Overhear (OhM 001)