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 Dichterlieve. 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 French Harpsichord music. The text sections are dialogues between the flute's pure tones and the contradictions of the piano, culminating in the savage rage of the flute. The gloss sections, on the other hand, are more poetic, musing ramblings over the soft cushion of the piano. These commentaires are in a way variations, extensions and elaborations of the ideas from the text; the musical language is altered somewhat but the material is the same, as if looking at the same relationship from two contradictory viewpoints.

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

- New York, November 2001