Lost Time Triptych is composed in homage to, and borrows its scordatura schema from, Gérard Grisey’s Vortex Temporum. Grisey’s notion of three subjective laters of time — contracted, “real,” and dilated — are reflected in the proportions of the three movements (each of which bears a subtitle borrowed from Bob Dylan). The first blazes by in thirty dense and rhythmically volatile seconds, while the second, lasting about two minutes, stretches out into lines and imitative layers. The third movement, longer than the first two together, shifts the focus to resonance, chords with long durations but rich interior shadings.