Coincidences for piano, composed in 1969, was the final work I wrote in the avant-garde musical style which had occupied my attention throughout the 'sixties. While it marks the culmination of my work in that heavily chromatic style, it certainly does not mark the end of my concern for the structural principles that governed that style. In Coincidences I was concerned with creating various lengths and qualities of harmonic periods - from short, clearly cadenced phrases to long, non-cadencing chordal progressions. The large formal idea was the progression back and forth along a continuum that stretched from a quiet, sporadic single-note texture to an extremely compact, chordal texture, from clearly delineated phrase units to moments of controlled chaos, and from aperiodic rhythms to metrically organized rhythms of various sorts. In the course of the work, the resultant harmonic periods and the surface melodic gestures may coincide exactly, thereby clearly defining a musical phrase, or they may coincide at differing points in their respective developments creating cross articulations and obscuring the harmonic unit. While the title suggests this compositional aspect, it is also intended to suggest the rhapsodic nature of the work. Coincidences, is notated precisely, but the effect in performance should be one of improvisational spontaneity.
Coincidences is published by Edizioni Suvini Zerboni, Milan, and received a Naumburg Recording Award in 1973 which permited this recording for CRI Records.
Coincidences Mp3 (Complete)