The pedestal piece, Cluster I, is about the ‘building up’ of a sculpture. It relates to the music of the score when it is crescendoing. Upon completion of the pedestal piece, I immediately imagined a visual representation of the ‘breakdown’ of the music. In the wall piece, Cluster II, the notes are sliding off the staff and falling downward, succumbing to gravity. I was most intrigued by a section of the sonata that seems to be so unconventional for the playing of the piece. It includes the extra text (instruction) of “use forearm”.  The physicality of “use forearm” is necessary to be able to play twelve notes simultaneously. I appreciate the parallels in the rigor of playing this sonata and the physical processes of working with clay.

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