The language of my music is more dissonant than that found in my 19th-century counterparts. I find this to be one of my more ‘objective’ traits, along with my scores. being programmatic. I hope that will not lead the listener to conclude that my aim was an inexpressive one... ...

Polijabber, at times, sounds like a cross between King Crimson and Edgar Varèse. The harsh meter and abrupt tempo changes allow for the “churning” and swaying of a full orchestra — almost nauseating, the music becomes. There are striking multi-measure rhythmic unisons where the pitches themselves are a whole-step apart — or sometimes a minor-third apart between the woodwinds and strings. By the end of the movement, the goal is to have the listener very unsettled by the last 4 1/2 minutes they just experienced. I give them relief in the 3rd movement. More tomorrow. ...

Movement II of Poem for American Acrimony is entitled Polijabber. The word Polijabber is mine — it’s a full-word abbreviation for “political jabbering.” The goal of the piece is to suggest that political acrimony starts with little bits of dialog jabs, evolves into a constancy of non-listening brashness, and ends with jarring rhythms and harsh tonality. The motifs such as they begin in the woodwinds, as the mallet percussion keeps the continuous pulse in 5/4. ⠀
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As of the date of the “Poem” World Premiere in February 2020, Polijabber is the most complex piece, rhythmically and harmonically, that I have composed.⠀
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More tomorrow ... ...