David Matthew Brown, violin
Kaitlyn Waterson, voice
Jodie Levine Brown, piano
Recorded by David Pasbrig - July, 2017

This modern setting of Goethe's supernatural horror story depicts the famous scene of a father and his son on horseback, fleeing the malevolent spirit, Erlkönig ("Erlking" or "Elf King"). Imperceptible to the father, the Erlking propositions the boy - with tempting offers of luxuries and comforts - to come with him. Upon reaching their destination, the father discovers that his son is dead.

In contrast to Romantic era settings of the poem (Schubert, Spohr, Beethoven, etc.), this version portrays the Erlking shedding his enticing façade on the disturbing line, "Ich liebe dich..." ("I love you"), followed by a musical representation of [demonic] possession of the boy. The narrator's final reveal that the boy has died is accompanied by a perverse transition to a joyous setting of the Erlking's theme, implying that the narrator may be the demon himself.

Erlkönig

New Russia State Symphony Orchestra
Ovidiu Marinescu, conductor
Haim Avitsur, trombone
Recorded by Pavel Lavrenenkov - January, 2017

Depicting the Welsh sorcerer, prophet, and madman who inspired Merlin in Arthurian Lore, Myrddin is a chaotic hybrid trombone concerto / symphonic poem. The composition explores themes of madness, tragedy, awe, nostalgia, and the supernatural through its 168 meter changes in 16 minutes, dense orchestration, and Welsh folk music influence.

The trombone plays many roles, but most prominently, the voice of Myrddin himself, and the sounding of the Iron Age battle horn, called a "carnyx." The latter function persists as a nagging reminder of the Battle of Arfderydd, at which King Arthur was killed. At varying points, Myrddin mourns or feels nostalgic - but is ultimately consumed by madness.

Neue Kraft Fuhlend/With Renewed Strength

Myrddin

Sean Arawjo, flute
David Matthew Brown, violin
Kaitlyn Waterson, voice
Jodie Levine Brown, piano
Dave Trum, percussion
Recorded Live - June, 2018

Written after original poetry, chiming clocks are a metaphor for the composer's maternal grandparents, gone, but eternally responsible for a family of life, love, and music. Phases of life and thought flash by: the jubilance of childhood, introspection of time's passing, grief of loss, and finally, enlightenment that love is eternal.

A steel tongue drum / triangle percussion setup in tandem with a specific piano figure mimic the chimes of three eight-day clocks owned by the composer's grandparents.

Text:

"Music begins as the hour is struck. Offset by age, a chorus of metal voices enters the discordant song of the inevitable. The heartbeat of the house tolls with many perspectives - some over, and others understated. Together, they are unlikely but beautiful. Unfettered by the perpetuity of the song, its audience - young and old, at play and at work - live joyously within its realm.

As dust, suspended in rays of sun through the window, a timeless serenity exists between the hours. Deep, golden afternoons could be memories or dreams - vivid sentiments of an ethereal world. If not for the swing of the pendulum, surely no time would pass.

And in this, the meaning of the song is obscured - for time does pass, and the song becomes increasingly beautiful. A piano joins, its own distinguished peal harmonizing - enlightening its predecessors. It beckons a procession of fiddles, then flutes, each bestowing new vitality - new meaning to the venerable music.

Enshrouded in a benevolent counterpoint, the song achieves the impossible.

So many years later, the instruments have departed from a house devoid of its once gilded hue. Stark bell tones now herald the hour in the predictable synchrony of solitude.

And yet, they are the heartbeats of new homes, each with its own unlikely, beautiful perspectives and colors. Descendants of the vintage melody revel as in olden times, enchanted by nostalgia.

The pendulum swings; voices come and go - but the chimes of the golden house are eternal."

The Chimes Of The Golden House

Aspiring to art that is equal parts beautiful and intellectual, Philadelphian composer David Matthew Brown synthesizes modality, quartal and quintal harmony, dense polyphony, distinct melody, and a keen sense of direction to create “that which he most wants to hear.” His compositions have been performed, commissioned, and/or recorded by the New Russia State Symphony Orchestra, Csik Chamber Orchestra, Vidin Sinfonietta, International Opera Theater, Network for New Music, LINK Ensemble, 6ixwire Project, and Alter Ego Chamber Opera, of which he was Co-Director and a founding member.

Equally active as a violinist, David is the founder of illumine, a violin-voice-piano trio ensemble that champions its unconventional instrumentation, works by living composers, obscure works of history, and performance practice reform. He has performed as a soloist with orchestras including the Csik Chamber Orchestra (RO)–with which he was also guest concertmaster–the Vidin Sinfonietta (BG), and the Newark Symphony.

Moreover, David is a conductor, tuba player, Celtic fiddler, mandolinist, and has composed over fifty Celtic jigs, reels, hornpipes, and other dance forms. He holds music degrees from West Chester University (BM, ‘11) and the University of Delaware (MM, ’13). By day, he is a professional grassroots activist, Democratic campaign manager, Chair of the Pennsylvania Secular Democrats, member of the Main Line NAACP, and the AFM Local 77.

David Matthew Brown

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