“Rapture After Schoenberg and Kandinsky (2024) forms a bridge between two seemingly disparate works: Vasily Kandinsky’s Improvisation 28 (Second Version) (1912) and the final movement of Arnold Schoenberg’s String Quartet No. 2, “Entrückung” (1908). Although Kandinsky and Schoenberg may have held similar philosophies about art, each piece provokes in me a unique response. However, despite their differences, both works evoke the Biblical end times: Schoenberg’s title refers to the Rapture and Kandinsky’s painting suggests the subsequent apocalypse. In Rapture After Schoenberg and Kandinsky, I forge additional common ground between the two pieces by interweaving materials from “Entrückung” and sonic imagery implied by Improvisation 28 (Second Version): Schoenberg’s opening gesture becomes distant thunder and the subsequent melodies in the viola and cello parts become horn calls and, later, the bells I imagine sounding from the church in the upper-right corner of Kandinsky’s painting.”