Composer’s Note:

While “and the heavens turned black” has a mathematical origin in its construction and design, the piece ultimately functions as a tone poem. The piece begins ominously as three note motives eventually come together to form a repeating 18-note bass line (first heard in its entirety by the trombones). Even though there are moments of hope and reprieve, the foreboding passacaglia persists. Towards the end of the piece, this dark theme is altered and turns strangely playful as it becomes the subject for a fugue. However, this carefree spirit is short lived and the strict organization falls apart as the work comes to a dramatic, yet somewhat triumphant conclusion.