This is an orchestrated version of the 2nd movement of a string quartet I wrote. I was able to have the FAMES orchestra in Macedonia record it for me and I am so happy with the results. Hope you enjoy it...

Adagio for Orchestra

Adagio For Orchestra David S Bateman 2021

for violin and chamber orchestra - in three movements

1. Infamous Rhythms
2. Ancient Signs
3. The Green Linnet

to Miranda Cuckson

Miranda Cuckson, violin and Yoko Hagino, piano

NOT FOR DISTRIBUTION - This is a demonstration recording made without rehearsal and only lightly edited

CHASALOW: Violin Concerto (Ancient Signs & Infamous Rhythms) - piano reduction

More on this 622nd weekly Disquiet Junto project, Know the Shadow (The Assignment: Use recently discarded material to make something new), at: https://disquiet.com/0622/

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0622-know-the-shadow/

Shadow ( disquiet0622)

Deal With It

Blooper reel for the audiobook of Staying Composed. Recorded Fall 2019 at Ableton Studios, Pasadena, CA.

Staying Composed - Audiobook Blooper Reel

'Just In Time' is a one-movement quartet for Bb clarinet, violin, violoncello, and piano. It is part of a new series of compositions marking my return to acoustic music after many years spent working in a purely electronic medium. My fascination with order, permutation, and numeric relationships heavily influence the structure and flow of this piece, while at the same time allowing me to work with essentially diatonic pitch material.

This virtual "performance" was generated via the sequencing and sampling capabilities of Logic Pro.

This piece was awarded the Diamond Prize in season 3 of the Saint-Saëns International Music Competition for 2024 and the Absolute First Prizes for Original Composition and Chamber Pieces in the 2025 season 1 Bach International Music Composition.

Just In Time

Orbit's edge for chamber ensemble (2024)
Orbit's edge takes its inspiration from the phenomenon known as the Roche limit, with particular attention to Saturn's ice moons. Saturn previously had many more smaller celestial bodies surrounding it, but these have been lost as they became too close to Saturn and reached their Roche limit. Once this threshold is crossed, the gravitational forces holding them together are overcome and these moons are pulled apart and disintegrate to beomce the planet's iconic rings. In the future, Phobos - one of Mars' two moons - will similarly reach its Roche limit and will be torn apart to form rings around Mars. This work explores this phenomenon, swirling around orbits that become ever closer before a destructive transformation of its original form leads to the material becoming something new, more crystalline but still forever circling and orbiting.
c.15 mins
Angela Elizabeth Slater
*This is a commission from The Aspen Music Festival and School for the 2024 season.

Performance by Aspen Contemporary Music Ensemble conducted by Tim Weiss in the Harris Hall on 14th August 2024

ANGELA ELIZABETH SLATER Orbits edge

Poems by Edna St. Vincent Millay

The Happenstancers (Toronto, ON) 
Reilly Nelson, soprano
Simon Rivard, conductor

Song of the Prophet-Liar  |  Song of the Sleep-Thief (2024)

More on the 679th weekly Disquiet Junto project, Ice Age — The Assignment: Record the sound of ice in a glass and make something with it — at https://disquiet.com/0679/

Ice Forms (disquiet0679)

Commissioned by the Scottish Chamber Orchestra as part of their 21/22 Season. Premiered by Scottish Chamber Orchestra, conducted by Sir James MacMillan on 11th November 2021 at Queen's Hall, Edinburgh. This excerpt was recorded and broadcast by BBC Radio 3 and performed live by Scottish Chamber Orchestra, conducted by SCO Principal Guest Conductor Andrew Manze on 1st November 2024 as part of the Nordic Music Days Festival 2024 at City Halls, Glasgow.

Death in a Nutshell is inspired by Frances Glessner Lee’s “Nutshell Studies of Unexplained Death” which are a series of 20 re-creations of real-life crime scenes that she intricately fashioned in minute detail within dollhouse-sized rooms. These macabre miniature death-scenes were painstakingly handcrafted by Lee throughout the 1940/50s as a learning tool in forensic and crime scene investigation, and often depict a domestic scenario furnished in 1940s décor in which the body of a doll (or dolls) can be found. Each diorama presents a set of clues regarding the events that led up to the doll’s demise including witness statements and important details about the time of year and even the temperature of the room; all of which offer clues to the solution of a puzzle that can be solved from the objects found within each room. These studies have proved so successful that they are still used today and are housed at the Maryland Medical Examiner’s Officer in Baltimore, where the true solutions are kept firmly under lock and key.

This piece focuses on 6 of Lee’s grisly Nutshell Studies in an attempt to represent 6 different crime-scenes as musical miniatures that hint at a variety of elaborate clues and evidence which form their potential solutions. The work is constructed like a house in which we promenade from room to room, starting in the parlour and wandering all the way to the attic, where we find a deceased doll (or dolls) in each room as well a new mystery to be solved. This morbid tour unfolds as follows:

1. Malleus Dei (in the Parsonage Parlour)

2. The Colossus (in the Kitchen)

3. A Drowned Sorrow (in the Dark Bathroom)

4. Interlude pour l’esprit de l’escalier (on the Stairs)

5. The Family Plot (in the Three-Room Dwelling)

6. Hanging upon your every word (in the Attic)

Leave no stone unturned, no note unscrutinised, “convict the guilty, clear the innocent, and find the truth in a nutshell”, in this macabre collection of miniature pieces inspired by a dollhouse unlike any other.

Death in a Nutshell for Chamber Orchestra (Excerpt) - 1.Malleus Dei (in the Parsonage Parlour)

luscinia, for orchestra and live electronics
performed live by the La Jolla Symphony, Steven Schick conducting
Tina Tallon, electronics
December 10th, 2017

luscinia (2017)

Born and raised in Southern California, Douglas studied composition at U.C.L.A, Indiana University, and Columbia University.  Among his teachers were Paul Reale, Frederick Fox, Jack Beeson, Chou Wen-chung, and Mario Davidovsky.

Just In Time

dascott

Related tracks