Review by Benjamin Dwyer

This attempt to pin down what Guy does, to address his compositional raison d’être, is more than a mere musicological preoccupation. It is important because it helps us define his musical idiolect, that is, the distinct compositional signature of an artist at his creative height. And given the complexity of Time Passing..., such an understanding will allow us to listen to it in different ways; it will give us access to its unique musical and linguistic codes. But this very complexity suggests a further attribute. The narrative and structural intricacy of the work is not only a consequence and reflection of the disconnect prevalent in modern society, the postmodern destabilization of classical narratives as a basis for our understanding of contemporary life making cohesive unison and integration unlikely. Its capacity to bring polysemic entities into close and simultaneous quarters is also a model by which structural fragmentation and stylistic difference can be harnessed in ways that make great art.