Cedille Records, Alarm Will Sound & Carnegie/ACO

A bar­rage of mis­cel­la­neous news: I’m happy to announce that Chicago’s Gaudete Brass has recorded my marathon 15-minute brass quin­tet Record of a Lost Tribe for Cedille Records. I will post more about this upcom­ing release soon. But one wasn’t enough, appar­ently, because Bala Brass has com­mis­sioned another, cur­rently titled Aria Rites, for per­for­mances later this year. In addi­tion, I have the great honor of writ­ing for Alarm Will Sound as a res­i­dent com­poser for this summer’s Miz­zou Inter­na­tional Com­posers Fes­ti­val in Saint Louis, Mis­souri, and I’ve been com­mis­sioned by the Amer­i­can Com­posers Orches­tra and Carnegie Hall to write new work for Octo­ber pre­mière in Zankel Hall. Finally, Ian Rosen­baum will per­form my bed­time vibra­phone solo Ellip­sis Rules at Deni­son Uni­ver­sity, smack in the mid­dle of Ohio, for their March TUTTI fes­ti­val.

Posted: January 24th, 2015

The Perfect Nothing Catalog

(2014), flutes, vio­lin, cello, and per­cus­sion, 30 minutes

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:

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Posted: November 28th, 2014

Ellipsis Rules

(2014), vibra­phone solo, 4:40

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.

Posted: August 7th, 2014

Old Motion Parade

(2013) orches­tra, 7:45

 

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.

 

 

Posted: June 20th, 2014

Love (after Rochefoucauld)

(2013) SSAATTB a capella

Love (after Rochefou­cauld)
The Yale Glee Club, Jef­frey Douma, con­duc­tor, Novem­ber 22, 2013

TEXT
from an epi­gram by Fran­cois de la Rochefou­cauld, trans­lated by Tom Clark

Love
like ghosts,
much talked about
sel­dom seen.

PROGRAM NOTE
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.

Posted: March 26th, 2014

Sonata for a Northern Sea Town

(2013) flute, clarinet/bass clar­inet, vio­lin, cello, piano, per­cus­sion, 17:30

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.”

my siblings Delaney and Austin on my father's fishing vessel, the Maranatha, 2013.

my sib­lings, Delaney and Austin, on my father’s fish­ing ves­sel, the Maranatha, 2013.

 

 

Posted: September 13th, 2013

Three Rooms

(2012) bal­let, scored for soprano sax, alto sax, vio­lin, cello, and celesta, 11:00
1. Par­al­lels
2. Oppo­sites
3. Recy­clables
excerpts:

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.

Posted: February 18th, 2012