This is Collect/Project premiering my new work for them "Essay 1: Mater." For voice, flute, accordion and electronics, this piece will continue to evolve as we revise and refine it, but I'm incredibly excited about our first foray into the collaboration. Many warm thanks to my talented collaborators, Shanna, Frauke, Eva, and Francisco, for their thoughtful engagement with this material and their help in shaping this work.
Invisible/Dark was commissioned by the Western Brass Quintet for their 50th anniversary celebration. I wanted to play with ideas of pressured social conformity, using spotlighted solos as a way of isolating players (and letting them explore in quiet and less conventional material as though for themselves, rather than the audience). The performers are working foot pedals and controlling the lights in real time, and much of the opening and closing of the piece relies on watching, listening, and responding to one another, rather than traditional counting (making visible the physicality of aligning and conforming). Autonomy gradually recedes as more members of the ensemble are visible to one another; the structure is driven by a gradual transition to louder, rhythmically-conforming, full-ensemble gestures. Physical movement is integral to the sounding material, and gesture is often more important than specific notes.
This video was shot in 2017 at Western Michigan University. Many thanks to the WBQ for their collaboration on, and performance of, this work.
Invisible/Dark was commissioned by the Western Brass Quintet for their 50th anniversary celebration. I wanted to play with ideas of pressured social conformity, using spotlighted solos as a way of isolating players (and letting them explore in quiet and less conventional material as though for themselves, rather than the audience). The performers are working foot pedals and controlling the lights in real time, and much of the opening and closing of the piece relies on watching, listening, and responding to one another, rather than traditional counting (making visible the physicality of aligning and conforming). Autonomy gradually recedes as more members of the ensemble are visible to one another; the structure is driven by a gradual transition to louder, rhythmically-conforming, full-ensemble gestures. Physical movement is integral to the sounding material, and gesture is often more important than specific notes.
This video was shot in 2017 at Western Michigan University. Many thanks to the WBQ for their collaboration on, and performance of, this work.
Vera’s Ghosts was commissioned by the American Composers' Orchestra for their Orchestra Underground Series at Carnegie Hall. It is a spatial work, performed with the performers standing in an arc around the conductor (rather than seated in rows as is convention). This work about mental illness and dementia uses as a point of departure the idea of the conductor as protagonist. The spatialized sounds (and extended techniques) that are passed quickly around him are part of that implied narrative—they start with moments of clarity, triggered by his physical gestures, but slip out of his control and spiral around him. The piece gradually moves from organized textures and noise, to glitching attempts at melody where the protagonist tries to hold on to what is real, to a sort of quiet hymn of remembrance at the end—an idealized (but melancholy) portrait of someone lost. My sincere thanks to the American Composers Orchestra and George Manahan for allowing me this opportunity to collaborate and take chances - this is a recording of the premiere performance in February 2014.
Excerpts from MESH (for the International Contemporary Ensemble). The full performance from the 2013 Mt Tremper Arts festival can be seen here!
|
"Isolation," as performed by the Magik*Magik Orchestra in San Francisco in early 2014. Please note that this is a spatial work (the performers stand in a circle surrounding the audience) which isn't audible in this live stereo recording. So grateful to Magik and the wonderful conductor John Kennedy for this lovely opportunity!
|
"Cross-Sections: Four Pieces for Electric Guitar Quartet" performed by Dither Electric Guitar Quartet.
"Music Painted from Memory" for Violin, Cello, and Video
Movement I can be heard here - performed by the Navitas Ensemble
Movements II and III can be heard in the video below - performed by the Navitas Ensemble
"Cythere: a trauma ballet in two parts"- for string quartet. This was recorded at a live performance by the Calder Quartet at MATA 2010
Movement I (Cutter)
Movement II (Skin)