six of one, half a dozen of another

for two harpsichords (2003), 6’

The relentless West African-sounding cross-rhythm created by superimposing 3/4 and 6/8, which a non-musical mathematician might assume are equivalent ratios, was actually inspired by a bratty remark from the flamboyant pianist Vladimir de Pachmann (1848-1933), whose interpretations were the polar opposite of “historically-informed performance practice” and who is said to have chastised an audience member at one of his recitals saying: “Madame, I am playing in 3/4 and you are fanning in 6/8!” He seems an unlikely inspiration for a composition involving harpsichords, but his remark seemed to beg the question: “How does accenting a phrase two different ways affect the way it is perceived?” which seemed best-suited to an answer involving two instruments of the same quality where lines could be quickly discerned, hence two harpsichords using two different but equally characteristic registrations to provide maximum contrast.