Instrumentation: Flute, Bassoon, Marimba, Vibraphone, Piano, Violin, Viola, Cello, Double Bass

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Around the time of writing I was musing on a late work of Pierre Boulez: "Dérive 2". In particular regarding the congruence of similar, though not identical melodies forming canonic-like textures, which in turn lead to unique extrapolations of lines allowing both for practically endless variations as well as the emergence of entirely new gestures inasmuch as material reaches a point of 'entropy' whereupon new impulses are needed. I worked with a much more restricted sonic pallet than Boulez, making using of the cipher R-O-B-E-R-T which generated the pitches D-A-B-E-D-F (according to the logic of Jules Écorcheville) resulting in a 'best normal order' of D-E-F-A-B which constitutes the first harmony. The piece then develops accordingly, morphing through various forms of that cipher by way of 'modulation'. My intention was to write a piece which "resonated" with the energy of Boulez' music. The reference to Robert Schumann is incidental - a good friend of mine was preoccupied with Schumann at the same time - and the resulting title, a play on words, references the phenomenon of Schumann Resonance coincidentally.