[Intercalations] functions essentially as a piano sonata and encompasses a discursive, contrapuntal opening movement; a fleet, evanescent scherzo that calls for crossed hands and an insistent drumming on single notes; an introspective third movement, and a flashy, chiming finale. Mr. Wilson's idiom is highly chromatic with strong tonal underpinnings; ''Intercalations'' is a virtuosic and thoroughly attractive addition to the repertory. Tim Page, NY Times
Artemisia (March), Crocus (Nocturne), Elena Campana (Waltz). Herba Johannis (Benediction), Lautca Leporica (Tarantella), Petrocilium (Arabesque), Quinquefoil (Prelude), Rosemary (Valediction)
Disclosures: Allusive, Direct, Alarming
Having written a good deal of piano music over the years, I thought I should give my Disclosures one or two features not tried before. The first movement (“Allusive”) remains stubbornly in the higher register; the second (“Direct”) explores the lower; and the third (“Alarming”) makes quite a point of rushing from one area to the other. Chopin’s remarkable finale to his second sonata in Bb minor was in my mind when I decided that the two hands of my second movement would remain at the octave throughout. It is such a pleasure to have Margaret Mills, a Vassar music major, and a good friend, commission and give the premiere of this work.