Instrumentation: fl, Eb cl, Bb cl, Bass cl, bsn, hn, tpt, tmb, 2 perc, hrp, pf, vn, va, vc, cb

Written for the University of Iowa Center for New Music (David Gompper, dir.) who premiered the work on April 1, 2006 at the University of Minnesota and recording the work for the Albany label (TROY956).

Review: "terrific... Awfully damned good piece." (Sequenza 21)

Liner notes from the Albany label CD (TROY 956):
     Edges shares its title with paintings by the American Abstractionists Adolph Gottlieb (1903-1974) and Philip Guston (1913-1980). The Gottlieb and Guston paintings are housed at the University of Iowa Museum of Art, and face one another on opposing walls in a space dominated by Jackson Pollock's "Mural" (1943). The information is relevant for it is provided by Dahn himself, who declares that his Edges is "not strictly based on either of these paintings, and yet many of the musical ideas for the work came to me as I would sit and contemplate these fine works of art."
     Edges is for large ensemble comprising winds (flute, E–flat, B–flat, and bass clarinets, bassoon), brass (French horn, trumpet, trombone), two percussionists plus harp and piano, and strings (one performer per part.) An engaging aspect of Dahn’s piece is that he treats the sonic properties of the ensemble in a manner analogous to the fashioning of the visual domain of the Abstractionist paintings he cites. In each of the two mediums it is satisfying to consider the composite effect—drawing focus on the objects as wholes; and yet to do so without intensely contemplating the many intricate details that constitute the complete work is to misapprehend what stands at the heart of such projects. In the case of the composition, we are carefully led through its physical space where in a sense the aural equivalent of differing colors, brushstrokes, textures, and densities are constantly in a state of flux.
     Edges is divisible into two principal portions roughly equal in duration. And yet while clearly demarcated, this "edge" is but one of many encountered over the course of the composition. In fact, each of the two principal portions of the work comprises four subsections that are asymmetrical in terms of their overall lengths
     Subsection one opens sotto voce—at a pianissimo whisper. The sparsely orchestrated beginning draws upon select low–range instruments whose entries are staggered and are as diminutive as a single clipped pitch. The texture is slow to build, but eventually a composite rhythm of sixteenth notes emerges; and as more and more of the orchestral forces join in the overall dynamic level increases to forte. Attention, however, is never diverted from the flow of each individual line, even if ultimately there are a great many such lines to track. In part, this remarkable effect is achieved via the careful delineation of what stands as the principal melody—that which Schoenberg and others would label the Hauptstimme. The point is this: contrary to initial impressions the florid passages are in reality Nebenstimmen (secondary voices), which taken collectively represent something of a frieze, standing as backdrop for the deliberate, if somewhat lugubrious, motion of the Hauptstimme whose protracted gestures pass from voice to voice (B–flat clarinet, to bassoon, to French horn in the first three entries alone).
     Similar procedures obtain throughout much of the composition, though no two subsections are identical in their specific approach to melody and accompaniment. Indeed, the approach is at times more and at other times less angular. The deeper one moves into the composition, however, the more it tends to be that the individual lines increase in density such that instrumental groups (winds, brass, percussion, strings) come to trade off with one another.
     In all, the unitary approach to process serves as the connective thread that runs through Edges, binding together the assorted tableaux. Dahn has thus provided a skillfully fragmented work, on that continuously ratchets up the level of tension in a manner approaching non-diegetic film music: music that might supply the background to a chase scene in a thriller or some similar genre.
          — Notes by Gregory Marion, The University of Saskatchewan