While writing Flow I was struck by the degree to which the "hands-on" nature of composing for piano influenced the creative process itself. Careful thought was given to the musical materials and structure of the piece, yet it seemed that intuition and physical sensation played a larger role than in my other works written for large ensembles.

 

On the one hand, Flow is tightly constructed with a limited number of recurring motives and harmonies; at the same time, the character of the piece is one of spontaneity and improvisation. The title refers not only to this work's unique "flow" of musical time as perceived by the listener, but also to a state of intense involvement in the creative moment, as defined in the book "The Psychology of Optimal Experience."