Cedille Records, Alarm Will Sound & Carnegie/ACO1.24.15
The Perfect Nothing Catalog11.28.14
The Perfect Nothing Catalog comprises 50 movements in 30 minutes, referencing the structure of Caryl Churchill’s 2012 play Love & Information, in which a large thematic arc is drawn by tiny non-repeating miniatures. It was also inspired by Frank Traynor’s the perfect nothing catalog (New York Magazine best of New York, 2013) which interrogates the power of curation and restricted control in the making of things.
A collection of excerpts from the piece are available here:
Ellipses in emails are confusing (and obnoxious). But well-chosen musical ellipses—in harmonies, chord progressions, rhythms, and melodies—can transfix. ELLIPSIS RULES is a study of these sorts of gaps and omissions.
Old Motion Parade6.20.14
Commissioned and premiered by the New York Youth Symphony as part of their First Music program, Parade of Old Motion was performed at Queens College on May 4, 2014, and at Carnegie Hall on May 25, 2014, conducted by Joshua Gerson.
“…a short, compelling orchestral essay…” — Anthony Tommasini, NY Times
Old Motion Parade abridges great earth-building processes—impossible to comprehend in proper scale—into a brief, abstract pageant. Parade is a tour of musical decay and recycling: great brass beacons smoothly fade into silence, a jig smears into sonic soup, a jaunty progression in the piano and harp rusts and fragments, and burly orchestral chords weaken, broaden, and finally explode into the landscapes we see before us.
Love (after Rochefoucauld)3.26.14
The Yale Glee Club, Jeffrey Douma, conductor, November 22, 2013
from an epigram by Francois de la Rochefoucauld, translated by Tom Clark
much talked about
I have kept most of Tom Clark’s translation, but have used a couple words from other translations. As much as possible, I tried to illustrate the text through the architecture of this brief setting.
Sonata for a Northern Sea Town9.13.13
Sonata for a Northern Sea Town Part 1: Tides Sonata for a Northern Sea Town Part 2: The End of the Road
Composed for the inaugural season of the Wild Shore Festival for New Music. Studio recording made by Katie Cox, flute, Eileen Mack, clarinets, Andie Springer, violin, Evelyn Farny, cello, Vicky Chow, piano, and Joe Bergen, percussion . The Première and recording of this work was made possible in part by the Composer Assistance Grant of New Music USA.
Sonata for a Northern Sea Town is a meditation on two aspects of life in my hometown, Homer, Alaska: dynamic natural forces that determine everyday life (20-foot tides, the price of salmon, the flux of daylight), and the people—fisherman, artists, Russian Old Believers, seekers, exiles and many others—who contribute to the utterly unique culture of Homer. Each part embodies one of these aspects, forming a kind of diptych impression of the fishing village bearing the nickname “The Cosmic Hamlet by the Sea.”
Commissioned by the New York Choreographic Institute. Studio recording made by Aaron Thomas Patterson, s.sax, Jay Rattman, a.sax, Elizabeth Derham, vln., Isabel Gehweiler, vc., Çağdaş Özkan, celesta.
Set in three compact movements, this ballet, choreographed by Justin Peck, adapts qualities of the cuisine and design elements of three distinct restaurants in New York City. “Parallels” is built on simple combinations of unusual elements, “Opposites” deploys opposites to trick the senses, and “Recyclables” revels in the earth and the recycled.