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.
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.
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.
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.
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.
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.
I recently was listening back through some of my older music, and was still remarkably happy with how my film scores sound. So, I decided to make a little collection of my favorites that haven’t seen the light of day in awhile- kind of an EP- and put them online. These are largely written during my senior year in college and the year after (10 years ago!) and are for a variety of student projects and independent short films. They are scored for everything from solo vibraphone to synths to full orchestra. All that need a conductor were conducted by me. There’s 7 tracks totaling 12 minutes. Give them a listen…
Carlsbad Music Festival
-"On and On and" for chorus
WORLD PREMIERE performed by Sacra/Profana
-Title TBA for violin duo
WORLD PREMIERE performed by Art of Elan
-Solo violin set of original compositions
Solo violin set of original compositions
With Quiet City and Ictus
New York, NY