Contra-Dances is a somewhat satirical, comedy/commentary on contemporary social fragmentation, a rework of the traditional dance form, playing on the meaning of " contra" as a caricature of conflicting forms (and rhythms) merged.  It was initially written during the 2012 Rapido Competition in which composers write  with a predesignated theme and instrumentation in two weeks. Updated and revised featuring clarinet instead of oboe for the Allentown Symphony, Sept. 2024.

(The image is of two Siberian tigers at Vienna's Tiergarten Schvnbrunn Zoo.) 

This version is for  clarinet with violin, cello, and piano. The music is not a standard Contra Dance (line-dance), but instead is a caricature of various and conflicting and overlaping dance fragments, a commentary on current social fragmentation with its fits and starts of semi-communication. The music starts as imagined dancers come to a stage, where each group with their own costumes and styles attempt to interact or collide!

Contra-Dances 2024 version

SATB chorus with bowed vibraphone.  Santa Clara University Chamber Singers.  Conductor Scot Hanna-Weir. 2024 Festival of Lights, December 7, 2024.  The text is the word for light in many languages.

Light_Phos Hilaron_12.7.24

Influences include: Ravel, Debussy, and Eric Satie.

The Eternal Sky (for Orchestra)

"Living In Harmony With Nature." for Oregon Bach Festival Composer’s Symposium,  July 12, 2025
   
"LISTEN" speaks to the idea that humans are not separate from nature but within nature and that both physical and spiritual harmony requires deep listening.
Bettina Gray
http://www.creativefilms.com

TEXT:
Inside
Through the memories,
Unused dreams, discarded f ears,
Deep in the ancient corners of mind is
Music
Listen
The meter of Lif e,
The cadence of galaxies, tuning . . .
The song.
The genetics of harmony,
pattern, variation.
Listen!
The music,
The song,
is f or you.

Performers: Daniel Au - Narrator, Andrew Brown - Clarinet,  Ron Blessinger - Violin,  Trevor Fitzpatrick - Cello, Susan McDaniel - Piano,  Ian Kerr - Percussion

LISTEN_Oregon Bach Festival Performance

Numerical Velocities is the outgrowth of exploring one tiny corner of the world of number systems. In the fall of 2016, my composition teacher, Dr. Jeffrey Miller, posed a challenge: write an entirely new piece. I took his challenge, spelunking into Fibonacci, Lucas, Golden Ratio, and Pascal’s Triangle numbers. I discovered a newfound delight in the ordered simplicity inherent to composing with numbers as my guiding light. I found music emerging that was totally different from what I’d previously heard in my “inner ear”. It was as though the numerical patterns created a fresh pathway down which my internal musical pattern-building mechanisms could flow. I built Numerical Velocities by assigning pitch class sets to each of the aforementioned number systems. I then built melodies, harmonies, and rhythms upon these pitch class sets. I was as surprised as anyone else by the outcome. What came through was both my sense of humor, as well as the temporary fulfillment of my heart’s longing to express beauty as pattern, and pattern as beauty. What I liked most about working with these number systems was that they got me out of my own head, and helped me to see and hear more objectively.

2017 Glenn Glasow Concert Piece - Numerical Velocities

Red Skeletons is a fixed-media electronic interlude (the third scene) to the larger work—The Story of Wu Wei—a condensed, single-act English-language chamber opera based on my mother’s struggle to survive during the Mao Regime in China in the 1950s. During this period of civil strife, millions died to violent class warfare. The opera features both fixed-media electronic interludes and live performance.

3. Red Skeletons — The Story of Wu Wei [Chamber Opera with Fixed-Media Electronic Interludes]

Angelic Conversations is the ending scene to the larger work—The Story of Wu Wei—a condensed, single-act English-language chamber opera (written in 2017-2018) based on my mother’s struggle to survive during the Mao Regime in China in the 1950s. During this period of civil strife, millions died to violent class warfare. The opera features both fixed-media electronic interludes and live performance.

This coda depicted the end of the story where Wu Wei was left on her own and struggled to accept her fate. This piece was about letting go. I wanted this piece to be ethereal to symbolize the spirit realm as Wu Wei opened herself to receiving higher guidance. She was grieving the loss of both her parents yet went within to find strength to move forward on her journey.

7. Angelic Conversations — The Story of Wu Wei

The Aftermath is fifth scene to the larger work—The Story of Wu Wei—a condensed, single-act English-language chamber opera (written in 2017-2018) based on my mother’s struggle to survive during the Mao Regime in China in the 1950s. During this period of civil strife, millions died to violent class warfare. The opera features both fixed-media electronic interludes and live performance. 

The Aftermath (electronic interlude) – This interlude represents the fatal aftermath of the incident when Wu Wei’s father was killed by the soldier.

5.The Aftermath — The Story of Wu Wei [Chamber Opera with Fixed-Media Electronic Interludes]

Music Box of Lamentations is a percussion piece that was premiered at San Jose State University by students of Galen Lemmon during the CAPMT Conference.


Conductor:
Galen Lemmon 

Performers:
Joshua Kwan
Chris Pun
Matilda Loughmiller
Shota Otaguro
Niles Flynn
Sabrina Chen
Arianna Arias
Thomas Benton
Anne Hsu

Recorded and filmed by: Jason Sander

Program Notes

Music Box of Lamentations is a piece for percussion ensemble that was inspired by my interest in gamelan music. I wanted to incorporate the ancient, metallic-sounding, yet delicate, out-of-tune quality of a gamelan ensemble. To create this sonic backdrop, I combined different types of resonant surfaces of wood, metal, and brass to create a rich palate of timbres. I organized various long- range rhythms designed to match up at certain points of the piece, which would usually coincide with the sound of a gong or cymbal.

I mixed various notes in a scale to create interesting intervallic content between instruments resulting in a hybrid sonic palate that sounds both east and west. The main rhythmic motive interweaves in a chant-like, hypnotic manner, creating a supernatural, mystical quality that engrosses the listener in a meditative and trance-like state.

2017 Glenn Glasow Concert Piece - Numerical Velocities

benrivers

Related tracks