Infinite Regress

“Infinite Regress, by Paul Clift, opened elegantly gestural with arpeggios and tremulandos, at a meticulous, processional pace. The form seemed to progress from tension-break-breath-break, with the care of the opening snapped up into this disruption, this void. The piece could have adequately ended here, but a second section, announced by ponticello in the bass, developed into the necessary inverse of the processional, passing, as if through a mirror, darkly.” –Seth Gillman, www.examiner.com