Commissioned and performed by Ensemble Pi. Conducted by Raquel Klein. Recorded live, October 2020.

Allison Loggins-Hull, flute, composer
Moran Katz, clarinet
Airi Yoshioka, violin
Alexis Gerlach, cello
Bill Trigg, percussion
Idith Korman, piano

The Pattern  - for pierrot ensemble.

Douglas Boyce writes chamber music that draws on Medieval and Renaissance traditions and modernist aesthetics, building rich rhythmic structures that shift between order, fragmentation, elegance, and ferocity.  His approach is deeply historical and broadly philosophical.  Many of his works have an direct historical touchstone, such as his  Etude on 'Pymalion qui moult subtilz estoit' (A Book of Etudes, Quire 4, No. 1) which features quotations of and elaborations on music from 15th century Cyprus, or La Deploration for clarinet, violin, and cello, which couples Josquin's lament on the death of Ockeghem with works of his own teacher Robert Suderburg, synthesizing jazz and Renaissance approaches. Other works draw on sources from antiquity, such as the string quartet Alcyone, a partially spoken setting of a tale of Ovid's Metamorphoses, or Tethys, a violin concerto which links the sea-goddess to geological time and tectonic change.
Literature and philosophy are also significant points of articulation: The Winter Journey, a current project commissioned from the ensemble Yarn|wire, is based on a short story by George Perec; the story itself  takes the form of a 19th century fairytale of memory and loss, and so the new composition will involve transformation of the French and German art-song tradition of the 19th and early 20th century. A song cycle focused on settings of American poets (Jorie Graham, BJ Ward, Wallace Stevens) entwines with the poems fragments from philosophers (James, Aristotle, Husserl, Bergson). The piano trio 'Fortuitous Variations' draws upon the language of William James and C.S. Peirce in inspiration, organization, character markings, and movement titles. This approach and the works themselves connect to many aspects of the scholarship in the humanities, including history, anthropology, literary studies, and philosophy. 
His works have been praised many times in the press.  Regarding his Quintet “l’homme armé”, Allan Kozinn wrote “he couches [the medieval melody] in such thoroughly modern scoring that the ear is lured to other things, including the juxtaposition of eerie string writing with playful material for the clarinet and piano, or the lively interplay among all five instruments.” (The New York Times March 12, 2005.) Regarding A Book of Songs (2006), the Stephen Brookes wrote “[they] can only be described as drop-dead beautiful. Easily the most captivating works on the program, these songs of love and death are extraordinarily well written and insightful.” (The Washington Post May 23, 2006)  Regarding La Déploration, Corinna da Fonseca-Wollheim wrote that "...the violinist, cellist... and clarinetist... spread out throughout the crypt. Against vaporous harmonics and ghostly fragments of Renaissance music played by the strings, [a] warm, clear clarinet announced itself as very much alive as it sashayed in and out of blues territory and laughed in the face of their mournful keening." (The New York Times May 17, 2015.)
He has been awarded the League of Composers ISCM Composers Award (2005), the Salvatore Martirano Prize (2006), and the Robert Avalon Prize (2010), and a Fromm Commission (2012). He is a MacDowell Fellow in Winter 2017, and an Avaloch Music Farm Fellow in Fall 2017. His music has been performed by  counter)induction, Aeolus Quartet, Inscape Chamber Orchestra, Redlight Music, Dan Lippel, Robert Baker, Trio Cavatina, Edge Ensemble/Contemporary Music Forum (DC), pianists Ieva Jokubaviciute (Shenandoah University), Alice Belem (State University of Minas Gerais), and Ning Yu; cellists Elise Pittenger (Federal University of Minas Gerais) and Schuyler Slack (Richmond Symphony) and Lori Barnett (George Washington University); and clarinetists David Jones (Washington National Opera), Benjamin Fingland (Dorian Winds).
He is a founding member, curator, and composer-in-residence of counter)induction, a composer/performer collective active in the New York region (www.counterinduction.com).

Composer and flautist.
Classically trained with an interest in electronics and experimental sounds.
Usually exploring contrasts between processed and unprocessed material, and human and machine collaboration.

A devoted humanitarian and firm supporter of arts education, Adam Eccleston has worked extensively with many social change organizations such as, MESDA group; A non-profit organization that offered a wide variety of educational support through music to under developed countries around the world. Currently, he is a faculty member with the Global Leaders Program that empowers arts changemakers to grow organizations that impact communities.
As a performer, Mr. Eccleston has appeared with several orchestras around the United States, the Carribbeans and Europe.  He has also been awarded top prizes in various competitions, one of which is the New York Flute Club Competition. Currently, Mr. Eccleston is the Program Director for BRAVO Youth Orchestras, an El Sistema inspired music program that serves over 600 students; and is the Artist in Residence with All Classical Portland Radio Station. He can be heard regularly on 89.9fm. 

While living in Germany, Mr. Eccleston studied with Eric lamb and Thaddeus Watson, piccolo player of the Frankfurt Radio Symphony Orchestra at the Frankfurt Hochschule für Musik und Darstellende Kunst. He was hand selected by Sir James Galway to attend his flute class in Switzerland. He also worked with William Bennett in England and went on to receive a Masters in Music from the New England Conservatory with Paula Robison.