The title is taken from the last movement (No.7) of French composer Eric Statie’s 1903 suite for piano four-hands Trois Morceaux en forme de poire (Three Pieces in the Shape of a Pear): Redite translates as “[needless] repetition” or “rehash.”

According to composer Adam Neely, “repetition legitimizes.” It made me question how many times could one repeat an idea before its repetition is considered needless? Musically, by repeating a note, phrase, or action—even a "mistake"—makes the gesture appear intentional, meaningful, and in this manner acknowledged by the listener. Thereby converting anomalies into structural, purposeful elements. This piece is a humoresque exploration of this concept.

I have always thought of language as the primary rhythmic shaper for music in all cultures. With that, I decided to use the pronunciation of Redite as the rhythmic muse that would pervade the work.

Then I allow the act of repetition to invade; repeating small ideas, which then morph into large structures that are also repeated with splashes of timbral anomalies. New rhythmic ideas arise becoming a repetitive bed of sound (ostinato) for other repeated ideas (or previously stated ideas) to be layered on top, again, with splashes of anomalies, almost evoking an infinity mirror effect. A playful banter between two musicians.