In Bounds was written in 2004, more or less on a dare. It amalgamates several sources in a non-referential way: Balinese gender wayang, Baroque counterpoint, Cuban santeria (the piece was to have been premiered in Havana, but the US State Department intervened, so it was moved to El Salvador). Also virtuosic piano heroism, in particular an amazing performance of the Schumann Toccata I had heard 20 years earlier by the late, great Berkeley pianist Barbara Shearer. She made the piano vibrate with such controlled hysteria that one feared the instrument itself might collapse. My goal was to channel a similar energy through a very different rhetoric.