Build in CA March 23-24

We’re playing in 3 concerts in 2 days in Davis and San Francisco. Here’s a poster for the shows by Will Arnold:

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Three New Commissions

I am excited to announce three new commissions: two for soloists, one for large ensemble.

The large ensemble piece is for the exuberant LA chamber orchestra, wild Up, which they will premiere on April 17 at REDCAT as part of the Los Angeles Philharmonic’s Brooklyn Festival. I’m thrilled to be a part of this festival along with many of my friends (both from Brooklyn and LA).

The pieces for soloists are for bassist Eleonore Oppenheim and for pianist Michael Mizrahi. Both are excellent musicians with really interesting bodies of work they are commissioning from their composer peers, and I’m very happy to be a part of these projects. More info on the premieres of these two pieces coming soon.

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Three New Pieces

I’ve just uploaded three new pieces from 2012 to my soundcloud for you to check out. One thing they have in common: all use plucked strings (theorbo, pipa and guitar).

First is “Slink” written for Chatham Baroque and commissioned as part of their 20th anniversary celebration. It’s for a baroque trio of violin, viola da gamba and theorbo.

Second is “Trailguide” performed by Wu Man, Kojiro Umezaki, Mark Dresser and Kjell Nordeson at the Carlsbad Music Festival in September. This piece was a directed improvisation, so the lion’s share of the credit goes to the fantastic players. It’s for pipa, shakuhachi, bass and percussion.

Third is “Contain” written for and commissioned by Musical Chairs Ensemble. I think of this one as a mix of Nirvana Unplugged and early Elliott Smith, and the pulsing minimalism of Steve Reich and early John Adams. It’s for cello, guitar, bass and drums.

 

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New Sampler Playlist

I just uploaded a bunch of my music to soundcloud and created a sampler playlist of music new and old. Check it out.

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Carlsbad Music Festival

The Festival I started 9 years ago and curate each year in my hometown of Carlsbad, CA is happening on September 21-23. I’m really excited about the line-up so thought I would share it here. If you’re anywhere near Southern California that weekend, I suggest you come out.

tickets, schedule and complete info is available here:
www.carlsbadmusicfestival.org 

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Fleet

Here’s a recording of “Fleet” #2 of “4 Pieces for Violin and Piano” from the premiere at the Mondavi Center at UC Davis in January also by the fantastic teenage musicians violinist Alexi Kenney and pianist Hilda Huang. I’m really happy with how this one came out.

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Poster for Build’s June 12 show

very cool poster by William Arnold for Build‘s upcoming show with David Crowell‘s Empyrean Atlas. tix here.

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Level

Here’s a recording of “Level” from the premiere at the Mondavi Center at UC Davis in January by the fantastic teenage musicians violinist Alexi Kenney and pianist Hilda Huang. Writing “Handoff” last October put me on a 3-piece kick of music with drones/pedals that included “within” and “Level,” all written in quick succession in the fall.

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within

Here’s a video for a piano piece “within” I wrote for Vicky Chow while at the Atlantic Center for the Arts in November. I shot this video using my telephone at Glenn Cornett’s Spectrum, which has a fantastic piano. This piece will be premiered on Sunday at Fast Forward Austin.

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A Wagner Matinee

I recently received a video of a collaborative dance-theatre piece by choreographer Laura Diffenderfer that I wrote the music and did sound design for. It is an abstract retelling of Willa Cather’s short story “A Wagner Matinee” and was premiered at the Red Cloud Opera House in Red Cloud, Nebraska (population 1020), Cather’s hometown. The performance in the video is from the New York premiere at the Merce Cunningham Studio in 2010. This excerpt comes from the extended middle section of the work in which Wagner’s Prelude to Tristan und Isolde stirs up memories in the aunt of the story’s narrator. Musically, I juxtaposed a processed recording of the Prelude with wind recordings evoking the harshness of the Nebraskan landscape. From this emerges a solo piano piece that is essentially a long minimalist deconstruction of the iconic chords of the Prelude. The piano solo starts sparsely at 2:34 and builds up eventually from there.

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