About Tiled Fields, Budinich writes:
Tiled Fields, whose name stems from a misreading of Joan Miró’s painting Tilled Fields, creates successive sections that obsessively build on the same material.
While writing Tiled Fields, I drew inspiration from Miró’s combination of a freely composed background with sharp figures neatly superimposed upon it, seen in such paintings as The Birth of the World, The Hunter, and Bleu ii. My work blends freely composed material that floats in the background, seen primarily in the strings and woodwinds, with more rigorous motives in the piano and double bass, both sharply attacking alongside several other instruments in fluctuating rhythmic patterns.
My musical inspiration stems from the Danish New Simplicity movement of the 1960s and 70s. This movement found renewed inspiration in simple, repetitive musical material, resisting the more modernist trends emerging from Germany during this time. These Danish composers create rhythmic processes that form the basis of their work. In Tiled Fields, I borrowed this method of rhythmic invention for the piano and double bass’s structure, but juxtaposed that against the freer material found in the rest of the orchestra.
Tiled Fields was premiered on November 10, 2019 in Stewart Theatre on the campus of North Carolina State University. Read the review from Classical Voice of North Carolina.
