Evan Johnson John Tilbury too (especially with the parts

too (especially with the parts and notation and design of the whole score)

so it was an invaluable opportunity to get feedback from someone I respect

This isn’t to say that I think dead-wall reveries is cinematic in its logic—or Marxist in its politics

Mark Knoop

Evan Johnson John Tilbury too (especially with the parts1 interlude 8: 50 2 several canons 9: 20 3 in modo parantetico 4: 21 4 interlude (double) 10: 01 5 in modo parentetico 5: 28 6 interlude (dust) 11: 10 Interview with Evan Johnson What is the background to the piece? Why viola d'amore, and it's a great title but where does it come from? The title is a bit unusual, for me, in that most of my titles are little snippets of reference to external thingsworks of art, other (usually medieval ish) music,