Dikfuk - the dong smasher

David Cossin - Marimba
Jennifer Choi - Violin I
Cornelius Dufallo - Violin II
Lev 'Ljova' Zhurbin - Viola
Yves Dharamraj - Cello
2014

Exude

Stephen Gosling - Piano
Jennifer Choi - Violin
Yves Dharamraj - Cello
2014

Denude

Confessions Of A Baldwin Acrosonic

Recorded at Vermont College of Fine Arts in August 2013 as partial fulfillment of the MFA in Music Composition requirements. Inspired by psychologist Stanley Milgram's research regarding obedience to perceived authority.

Paul Gambil, Conductor
Ken Thomson, Bass Clarinet
Cornelius Dufallo, Violin
Yves Dharamraj, Violoncello
Stephen Gosling, Piano
David Cossin, Drum Set


Disengaged (2013)

Vishuddhi (exerpt)

Kelli Kathman - Flute
Beth Hussein Meyers - Viola
Nuiko Wadden - Harp
2015

...or did you beg?

Ensemble 4saxess:
Lev Pupis - soprano saxophone
Oskar Laznik - alto saxphone
Primoz Fleischman - tenor saxophone
Dejan Presicek - baritone saxophone

An elegy to Paul Bley, Pierre Boulez, and David Bowie

Still Instruments

Transmogrification was commissioned for a concert of new works inspired by Beethoven’s Große Fuge, Op. 133.  When I first began brainstorming ideas for the piece, I was daunted by the task of imagining what could possibly follow a work as apocalyptic as the Große Fuge.   That rhetorical question led me to start thinking literally about the fugues that have been written since Beethoven, especially the opening movement of Bartók’s Music for Strings, Percussion, and Celesta, whose chromatic subject has many affinities with the Große Fuge.  Transmogrification attempts a metafictional connection between these two pieces from different centuries.  After the apocalypse of the Große Fuge, notes are floating in space freely, recombining occasionally in the memory of the Beethoven.  As the piece progresses, a new gravity takes over, eventually coalescing in the opening of Music for Strings, Percussion, and Celesta.  In order to affect this process, every note is actually borrowed from the Bartók with very few exceptions, as well as the symmetrical form of Bartók’s fugal exposition, which I utilize backwards so as to end where Bartók begins.  

Shannon Vandzura - flute
Catherine O'Kelly - guitar
Kevin Huhn - contrabass

Transmogrification

Megan Lathan - viola
Mat Nichols - violoncello
Krista Kopper - contrabass

Nothing that is not there and the nothing that is is an intimate, reflective work that plays with the concepts of perspective and memory.  The title comes from a poem by Wallace Stevens:
One must have a mind of winter
To regard the frost and the boughs
Of the pine-trees crusted with snow;
And have been cold a long time
To behold the junipers shagged with ice,
The spruces rough in the distant glitter
Of the January sun; and not to think
Of any misery in the sound of the wind,
In the sound of a few leaves,
Which is the sound of the land
Full of the same wind
That is blowing in the same bare place
For the listener, who listens in the snow,
And, nothing himself, beholds
Nothing that is not there and the nothing that is.

Nothing that is not there and the nothing that is

New final mix of String Theory

 2 channel fixed media

String Theory is an eight minute exploration of timbral and gestural qualities derived from computer generated string models. The majority of sounds in the piece are electronically created through these string physical modeling techniques. This usage is vaguely analogous to the “String theory” of quantum physics, where all subatomic particles are created through one-dimensional strings that oscillate, giving different quarks their distinct characteristics. The string models in the piece are excited and combined differently, providing distinct sound characteristics that form the “atomic level” of the music. These sounds are able to evoke wide associations with real world sounds including tam-tams, electric guitars, and whale song, with the intent of providing a rich tapestry of interrelated sounds that evolve throughout the duration of the music. 


Disengaged (2013)

Ariane Miyasaki

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