every day that comes and goes was inspired by the poetry of American writer Aberjhani. The movements 
take their titles and characters from three short poems of the collection A Skylark Dressed in Black, each
describing a rose. The flowing language of the poems, with its strong imagery, is echoed in the character of the music.

1. 1. an angel eating light
      With its leaves so rich and heavy with elation
      and its crimson face made brighter with visions of divinity
      the shadow of a certain rose looks just like an angel eating light.
   2. afloat above the earth
      What is more powerful than the killing crucifixion
      of desert heat commanded by a sun with no mercy?
      The perfect shade of a flawless rose afloat above the earth.
   3. every day that comes and goes
      And this one is of eternity. It never stops opening.
      The beauty it shines is the same as the path it travels in and out
      of paradise, every second, of every hour, of every day that comes and goes.

The brightness of the first movement is continually swallowed into darkness, only to emerge in a different guise and be swallowed again and again, in a recurring cycle. The delicate second movement hangs suspended in time, barely moving before melding into the final movement, which presents another cycle, timeless in its own way. Two harmonic progressions repeatedly alternate, in a double chaconne that forms the basis of the entire movement. Though greatly varied through the character of variations, the endless pattern suggests an eternal unfolding of passing time as the music ebbs and flows through high points and low, eventually reaching a joyous climax before dissolving into infinity.

Highly lyrical, yet driven by rhythmic energy, every day that comes and goes was commissioned by pianist Ron Levy, and written for him and violinist Ignace Jang.

Excerpts from the poem Gratitudes of a Dozen Roses by Aberjhani, published in Visions of a Skylark Dressed in Black, used by permission