Using Irving Fine’s music as my point of departure, rather than using a concept, I heard structure as well as possible imagery: woodland, moonlight and wandering creatures. I wanted to interact with the music, not just impose choreography on it, so I chose to reorder the movements and add a repeat, turning a linear work into one that is almost cyclical—a structure that I’ve explored continuously in my compositions. I also often take inspiration and impetus from the dancers, and the Graham dancers have been a generous and inspiring group of collaborators. Woodland was developed in collaboration with these dancers. In the end, as in many of my works, the individual is a counterpoint to the group—somewhat isolated and looking for the means to connect with others, all the while remaining separated on a singular trajectory.