Textes and Glosses was composed in the final months of 1998 in Aspen, Colorado and Boston, Massachusetts. Its initial influences range from the isolation of Carter's Clarinet Concerto to the poeticism of Schumann's Dichterliebe. In the end the work is an amalgam of both Carter's and Schumann's world. Formally, it is divided into a series of "Textes" and "Glosses," an idea borrowed from the couplets of French Harpsichord music and the glosas of the Spanish Renaissance. The text sections resent material and are dialogues between the flute's pure tones and rapid lines and the contradictions and scampering of the piano. The gloss sections on the other hand, are more poetic, musing ramblings over the soft cushion of the piano. These commentaries are in a way variations, extensions and elaborations of the ideas from the texts; the musical language is altered and ornamented but the material is the same, as if looking at an object from different viewpoints.

A generative harmonic progression of six chords, sometimes fixed registrally and at other times more free, continuously undergoes looping and modification to create all of melodies and harmonies of the piece. The melodic material develops from a kind of troping of more freely derived material within arpeggiations of the generative harmonies.

- New York, November 2001