I imagined the harmonies in Suite In Vivid Color as thick streaks of oil paint. The movement titles recall Baroque forms – prelude, air, chaconne – and these antique musical expressions are coated in layers of bright, saturated chords. To offset the sweetness of the sonorities, I added textural blemishes in the form of atonal gestures and noisy extended techniques. The result is a piece in opposition with itself, containing music that is simultaneously old and new, gentle and aggressive, comforting and unsettling.