This is a major contemporary work in three contrasting, programmatic movements entitled Separation: The World Splitting in Two; Initiation: The Deep Inner Sea; and Return: The Wounded Healers. This work was commissioned by flutists Bart Feller and Kathleen Nester, who premiered it at the National Flute Association Convention in August 1996. The title refers to the mythological legend of Daphne and Apollo, where Daphne is changed into a laurel tree to prevent the amorous pursuits of Apollo. Musical references to specific events in the legend are indicated throughout the score. The work is in a traditional style, and except for the jet whistle in the first movement, uses no contemporary effects. The flute parts are equal in difficulty and interest.

When heard at Rutgers this past spring, flutists Bart Feller and Kathleen Nester and pianist Linda Mark presented the first movement only, "The World Splitting in Two", of a work in progress by Robert Maggio. The now complete work, entitled "The Laurel Tree", is a programmatic work which treats the Daphne and Apollo myth. What was heard in the work-in-progress phase was a retelling of the myth itself: Cupid shoots an arrow into Apollo so he will love who he first sees. Cupid shoots an arrow into Daphne which makes her fear who she first sees. She and Apollo first see each other. The inevitable pursuit and flight lead to Daphne turning into a laurel tree, thus becoming the stuff of monographs by Karl Jung and Joseph Campbell...

...And Maggio. For the final two movements performed on Tuesday deal with elements not part of the original myth. 'The Deep Inner Sea' takes us into the experience of Daphne as she becomes earth-bound, curling roots into a single place, living connected to the soil.

Maggio asks the flutists to produce a wide variety of effects, drooping sounds falling off-pitch, flutter tongues, and multi-phonics. Mark [the pianist] at times stood up and played low resonant bass tones inside the piano with her fingers. This was no calming Bhuddist "Om" evocation. For Maggio, the inward search of Daphne and by extension the audience, is scary, filled with eerie night-music, whispers, and whimpers.

The third movement, "The Wounded Healers", brings Daphne back to a real world wearing the mantle of wisdom, the wisdom of seeing herself and the world anew. The instruments imitate each other, creating a mythic space in which echoes exist not so much in the acoustic of the hall but in the mind of the listener. Without it being a theater-piece, there is something theatric about the work: it looked along with sounding well. Feller, Nester, and Mark, for whom it was composed, have in their hands an extremely evocative work I should like to hear again.