The chaconne, as a vehicle for abstract musical expression, found its greatest flowering in the hands of Bach, and later Vitali; otherwise, it remains an entirely antiquated compositional structure in its original form.

Perhaps owing both to my predilection for anachronistic things, and to the great impressions Bach’s and Vitali’s respective chaconnes have left on me as a composer, it seemed natural, during a period of relative creative drought, to undertake the composition of a chaconne as a creative exercise.

As for the subtitle, “Blossom,” it derives mostly from the central motif’s role as a sort of thematic blossom, out of which each constituent section of music blooms into its own floret of the interconnected whole.