Abstract
The Concerto is in two movements and has an accompanying ensemble of thirteen instrumentalists. The two fundamental principles of the composition are the establishment of continuity and the exploration of three relationships that are initiated between the soloist and the ensemble. Continuity is established through various techniques including the employment of ostinato patterns, related pitch material, rhythmic structure based upon prime numbers, and the fragmentation of various musical materials. The three primary relationships established between the soloist and the ensemble are: (1) totally contrasting musical materials, (2) materials that are similar and feature the soloist, and (3) materials in both parts that are of equal importance.