Constellation is one of many compositions I have written with evening recitals in mind. Having spent most of my career at a picturesque campus overlooking a lake, I was always moved by the tranquil beauty of such a setting. The high, repeated-note figuration is intentionally evocative of one of the stars in a constellation regularly flashing. The contrasting middle section is intended to evoke a nos- talgic, rustic setting, but with no particular programmatic idea behind it. I recognize (from playing the piece myself) that having the higher voices on separate staves, with the voices occasionally crossing, is a bit challenging for the player to read, but I believe it's important to keep it clear which notes are melodic and which are accompanimental, also made (I hope) clear by the dynamic indications. Regarding the idea of executing a fast, soft scale with the fingers, please only do that if you can do it evenly as well as lightly.

While I have always used techniques involving bringing a few keys down early for ultra-soft figures, I think playing full scales with the fingers is seriously over-rated. With the f♯ in the scale in measure 56, you really can't do that whole figure with fingers. The trick there is to use quick but shallow strokes, only following the keys down about 1/3 of the way, allowing inertia to finish the strokes. Playing this piece is not for the faint of heart, but I do hope that those who tackle it will get much enjoyment from doing so! A 3-octave version of the piece is available from the composer.

—John Gouwens