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The piece has been written in a typical postmodern style, which expresses the composer’s fascination with baroque styles, ostinato rhythms and forms like the fugue.
The entire composition is based on just one short motive that is developed throughout the piece and interestingly becomes the harmonic foundation in both the horizontal and vertical lines.
The Toccata consists of six sections: Toccata I, Fugue, Prelude I, Giga, Prelude II and Toccata II (Finale), all implied within the score.
The composer further develops the texture of the score by calling for the performers to play secondary instruments such as piccolo, English horn and bass clarinet.
In terms of tonality, the composer cleverly manipulates the harmony to shift from tonal to atonal by using major/minor chord clashes.
To date, the composer has enjoyed great success writing for various instrumental combinations including wind ensembles, flute ensembles and flute solos with other instrumental accompaniments.
Having penned a great number of arrangements of his own compositions and borrowed music transcribed for woodwind quintet, this piece is the composer’s first original composition for this type of ensemble.
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