In The Completion 

for oboe, viola, and found-object percussion

Omdat ze Rond zijn

and large like pregnancy

On the Two Occasions

of her inside them

On the Second Occasion

zij huilde in haar aanwezigheid

Snijd het Mindere Eraf

For In the Completion, there is no privileged listener. Multiple structural ambiguities inhibit any sensation of completeness. The ambiguity of vagueness, where essential musical information is removed, and the ambiguity of contradiction, where contradictory musical materials exist at once, serve to create odd relationships between the musical materials, instruments, and movements. The omission of smooth transitions and the juxtaposition of contrasting sonic materials create gaps that obscure any logical, linear thought. Varying perspectives of the same musical material within one sonic frame participate in a multifaceted dialectic providing the listener the power to create their own hierarchy of the sonic materials presented. While varying ambiguities are explored throughout, a strong aura is preserved.

In the Completion confronts a fundamental divide between the physical and mental, where the physical has moved forward, and the mental has stagnated. Instances of the past resurface and any attempt in gaining completion between the physical and mental is stunted.