all in due time was written in Rome and I gave the first performance at the American Academy in May, 1973. Afterwards, Giacinto Scelsi, the enigmatic and unique Italian composer whom I had never met, came up to me and said, “First part, good, last part, good, middle part, not good”. I mention this because, for better or worse, the middle part is instrumentally and technically distinctly different from the other two and he recognized this as a flaw. However, while the pieces on this CD are quite different from one another, I think his observation applies to all of them, that a common thread is, within their individual boundaries, in each there is a pushing against a unified, a consistent approach. In some sense I would attribute this to my life-long interest in the music of Ives. The self-similarity of the first and third sections of all in due time, based on canonic writing in which the “correct” solution, in this case, two scale patterns, is preceded by many “wrong” ones is, from the point of view of consistency, spoiled by the middle part.