Crossroads has but one motivic idea of any structural significance; this motive, found in the piano at the onset, provides the basis for virtually every measure in the piece, though the motive does not always assume the most important or noticeable role at any given time.  Metrically, the horn and piano are often not in total agreement; occasionally each is in a different time signature with different stresses within the bar, or sometimes each is even offset from the other by a beat - the effect is intended as a subtle but important contribution to the overall character of the work.

I wrote Crossroads in the autumn of 2000 during a time of change and uncertainty not just within my own life, but concurrently within the lives of several friends who independently confided their stories to me, each referring to his experience as a crossroads - a felicitous term for this introspective (and then-untitled) piece.

Crossroads comes as a DRM-free PDF in US Letter format; the file includes both a piano score and a horn part.