Derived from the Third Movement of Octet-Windstorm, Squall makes use of that composition’s thematic framework as the basis of its pacing. Having the resources of
the full orchestra allows for a more pervasive and public rendition of the storm, a contrast to the earlier work’s chamber-music format. I have imposed
one limitation in the use of a minimal amount of percussion, thereby dispensing with “sound effects” which hinder the sense of dreamlike unreality that I
want to convey in the brief time of the piece.
Los Angeles, November, 2006.