Performers: Leo Altino, cello; and Tess Highmark, marimba

Notes by the composer: Shawn E. Okpebholo

"In the dark months following the terrible losses, I found myself needing to turn to the language of poetry, if only to preserve the phrase Roger spoke after his diagnosis, that he was going into the treatment to experience "the complete sufficiency of grace." This was poet Miho Nonaka's response to her elegant poem, Distance, an elegy for Roger Lundin, and the inspiration for this piece. Roger was a Christ-follower, a husband, a father, a scholar, a teacher, a friend—my friend. Our friendship grew out of Roger’s humility: I, as a junior faculty member, for example, receiving encouragement, soaking up his wisdom, talking about shared interests, like music, the Negro spiritual, specifically.

Distance is a duo for cello and marimba. I intentionally chose that instrumentation to reflect Roger’s demeanor.  The cello and marimba are considered soft instruments and both have warm and rich timbres. Even in a casual chat with Roger, one would experience his soft-spoken voice: a tone that was warm; words that were full of depth; insights that were rich in meaning. In this work, I aimed to musically weave the many ideas expressed in Nonaka’s poem: the body, devotion, act of musical worship, joy (imagery of the flies), space, breath, and words (the Word).  I included two musical quotations: the spiritual, Prepare Me One Body, and one of the great hymns of the church, For All the Saints (Ralph Vaughan William's tune, sine nomine). Not only do these songs capture poignant themes of Nonaka's poem, the songs were special to Roger.

This piece was composed in memory of Roger Lundin and is dedicated to Sue Lundin.

Distance
Miho Nonaka
(Roger Lundin 1949-2015)

Snow started overnight, unexpectedly, in abundance
making the drive to church beautiful, nearly 
impossible. And it would continue through the service—
high windows like a slender book opened 
in the middle, pages growing whiter, emptier
save for a few bones of the tree 
on the margin. 
                        Your body 
already bare, severe space 
of reformed architecture: a lone vessel  
breaking its path through the hush
of human breath to the center, the unknown. 

That summer, a poem had started us discussing
flies, a sudden legion of them in my kitchen.
It amused you to no end to picture me
swatting at them with dark passion,
tallying my victories each day until
my husband finally located their colony. 

What flies, invisible, interpose between words,
splinter the syntax of eulogy?  
                                                Uncertain, stumbling, we 
turn to music, hymns, prayers. As if the soul 
is a kind of distance, measured around and still beyond 
circumference. We ache to feel exactly
what our fragile faith tells us we can’t

but must. 
                Inside your head was a library
of unfinished books. An entire forest of them gone
before the first snow. Your voice haunts me, tender,
elegiac at the core, calling to the dead, your 
scattered tribe, a maze of jagged isles, high winds 
through the fog of the Baltic Sea. 

There was a time I thought that words, when 
true, would crystallize in their arrival. 
I believed that. 
                         It is such a long journey, Sue said
at a late night grocery store. We were pushing carts full
of essentials when we ran into each other
under the florescent light.
I had no words for her. We are still 

standing in that spacious church 
surrounded by silent crystals. Dusk  
gathers, the ceiling grows higher, and the whole  
building is an instrument full of air, aching to 
house the complete sufficiency of grace.

Distance (for cello and marimba)

"reaching" for string quartet and electronics
M.A. Thesis, University of Chicago

Premiered 4/5/2018 by Spektral Quartet (Clara Lyon, Maeve Feinberg, Doyle Armbrust, Russell Rolen)
Cover art: Matt Omahan (www.mattomahan.com)

This piece is about striving for something - a goal, an aim, a success, etc. - and subsequently failing. However, it is not about the failure; rather, it is about the repetition of trying, attempting, reaching.

reaching, for string quartet and electronics

"no one ever asks about the bats in plato's cave; do you think they could see their shadow's too?" for solo augmented euphonium

Performed and Commissioned by Michael Fahrner
Recorded by Dominic Ryder
Composed and Mixed by Bryan Wysocki

no one ever asks about the bats in plato's cave; do you think they could see their shadow's too?

B - "Rise"

Speaker Pops reading by Cisum Percussion

This piece is inspired by "Fragmentary Blue" by Robert Frost. Performed by Dal Niente at the University of Maryland on 2/27/2020.

Fragmentary Blue

A mockup of "BOP", a short percussion piece I wrote late last year.

BOP (2020) for percussion ensemble [Mockup]

Bryan Michael Wysocki is an Atlanta-based composer and performer who’s interested in the fusion of modern music with other art forms. As a composer, much of his music takes inspiration from other disciplines, such as poetry and prose, theatre, and the visual arts. His music has been described as “warm, and genuine, like a loving hug,” and “aggressive, energetic, and lively.” 

Bryan is currently a master’s student at Georgia State University (Atlanta, GA), where he is pursuing MMus Degrees in both Percussion Performance and Composition. Bryan is currently in the studios of Dr. Stuart Gerber (percussion) and Dr. Nickitas Demos (composition).

no one ever asks about the bats in plato's cave; do you think they could see their shadow's too?

Bryan Michael Wysocki

Related tracks