Triangular Antiphonies is a study in motion and spatialization. It was composed in the fall of 2005, partially inspired by several ideas in Wassily Kandinsky's treatise, 'Concerning the Spiritual in Art,' in which he uses the triangle as a metaphor for spiritual life and the artist's relation to it.

Kandinsky's spiritual triangle is slowly moving onward and upwards and contains many segments, which are stratified by his views of humanity. In every segment are artists who either inhibit or contribute to the forward progress of the triangle. But, at the apex of the triangle stands only one artist. This artist's joyful vision cloaks a vast sorrow, he is often misunderstood and attacked for his unrelenting stand, and he is a noble champion of art. Beethoven once stood at this apex.

During the times when art has no visionary, no champion, the triangle seems motionless. Souls fall continuously from the upper levels of the triangle to lower levels, signaling retrogression in the spiritual and artistic realms. Progress at this stage is at best undervalued, at worst ignored completely. The status quo is art 'without enthusiasm, with cold hearts and souls asleep.'

In this piece, I have applied the metaphor of the triangle in several ways. I have divided the ensemble into three antiphonal groups, representing different levels of the triangle, and a triangle itself. The three groups interact antiphonally with various processes and are often divided into subgroups (usually trios). But, at all times, the full ensemble signifies the motion and progress, whether forward or backward, of the spiritual triangle, and thus my own views of art and humanity. In so doing, I have attempted to give the metaphorical triangle an enthusiastic push forward.

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