Blood Moon took shape around the time of the total lunar eclipse in May 2022. I have always found that natural occurrences taking place on such a scale instil a sense of humility and call for some reflection: these events provide an insight into the immensity of time and space involved in the underlying mechanisms that result in such cosmic phenomena, but the price we pay is the realisation of our own insignificance. These happenings really are awe-inspiring! Something of the wonderment we experience drives the creative process too. We composers continue to take delight in the familiar instruments we have written for again and again and find new possibilities in their essential nature (just as old friends can surprise us with new ideas!).

The three movements of Blood Moon exploit the clarinet and piano in varying relationship to one another, although much of the musical material appears throughout. The clarinet writing wanders into microtonal territory where the piano cannot follow, while the piano – initially only a kind of resonator for the clarinet – asserts itself as an equal partner.