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Janus Variaitons is named for the Roman god who symbolized beginnings.  His two-faced image often appeared on coins and over doorways of homes and entrances to cities.  It came to be believed that Janus could see into the future, as well as the past.  The music symbolizes Janus in several ways.  The piece is to receive its premiere performance in January, the month named after the god; and his 'two-faced" image is reflected in the contrasts that occur: From slow to fast, tender to violent, spiritual to sardonic, and humorous to dead serious.  Although all twelve notes of the chromatic scale appear in the theme, it is not a tone-row, as used in serial music, since certain notes are repeated.  There are twelve variations, each using as its base tonality the corresponding pitch in the theme.  The theme is not developed in a continuous chain, as is the case with many twentieth century examples of the variation form.  In this work, each variation is discrete but connected to the text.  Also, unlike many examples of variation form in the 18th and 19th centuries which embellish the theme using the same harmonic pattern, the Janus Variations manipulate the pitches of the theme, without regard for the original harmonic underpinnings.  In fact, the harmonies supporting the original statement of the theme are purposefully vague.

The theme is presented by a solo horn over softly trilling strings.  This leads, without pause, to the first variation (Lugubre) in which the theme is stated in the clarinet and English horn.  The second variation (Marziale) is a march, featuring three bassoons in a grotesque mutation of the theme, culmination in a violent climax.  This leads directly into the third variation (Andante sostenuto) for brass with some support from the bassoons.  The 4th variation (Allegretto e grottesco) is for full orchestra and spreads the head of the theme out over several octaves.  It is characterized by glissandi in nearly all instruments capable of such a feat (including horns).  The 5th variation (Tranquillo) is pastoral in nature and features solos in the woodwinds that embellish the theme.  The 6th variation (Allegretto) enters a world of swirling mists with muted brass and string tremolos.  The 7th variation (Moderato) is for two clarinets, rumination on the theme.  This leads to the 8th variation (Agitato) -- a short, rapid, rhythmically off-balance section.  The 9th variation (Molto agitato), for full orchestra, is marked by an ostinato of the head of the theme played in canon.  This comes to a tremendous climax.  The 10th variation (Largo) is little more than a transition to the 11th variation (L'Istesso tempo), a lament for the strings.  This is followed by the final variation, a slow dirge-like section (Adagio ma ritmico), which uses the pitches of the theme in a inverted form.  The second part of this variation becomes more tranquil in a slight mutation of the inverted theme.  The work is concluded peacefully, with a duet for two horns -- one playing the them in its original form, the other playing it backwards, signifying the "forward" and "backward-looking" nature of Janus.

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