a wonderful expression of the source you were speaking of. i enjoy yr background information very much, gives great context. Thsi piece had me smiling from the first bar, excellent attention to space and dynamics

Soundtrack to a TV commercial for cancer awareness in Iceland.

Bryndís Jakobs - Vocals
Halldór Gunnar - Guitar
Þórdís Gerður Jónsdóttir - Cello 
Jóhann Vignir - Synth, recording, mixing, producing.

Pink Ribbon - TV Spot - 60sec

Part of a soundtrack for the Icelandic docuseries 'What Can We Do'. Premiered on RUV in 2021. 

All Instrumentation - String programming by me.

Together - Climate Docuseries

Slow Waltz
for chamber ensemble

to Liana, with love

Originally for piano (Composed in November 2023)
This arrangement was made in two-and-a-half hours on 9th December 2023. 

Slow Waltz, for ensemble (2023)

All That Jazz was composed as a piece for a cycle of Nocturnes which eventually became 'Facing the Night'. On reviewing the piece, I considered it to be sufficient as a standalone piece and as an exploration of highly chromatic jazz. Listen in for a quotation of a jazz standard! 

Cover Art: All That Jazz, M.Sani.

All That Jazz, for MIDI (2021-22)

On the right spring night in the right place and after a hard winter, few pleasures in New England compare to hearing a chorus of frogs near a pond or lake.  Relentless. High-energy.  The sound somehow consistent and chaotic all at the same time.  And then somehow they all just stop.

Though not mimetic, this piece celebrates that sound and the aesthetic that would prize it.

Milton Babbitt invented a twelve-tone structure called combinatorial arrays, where rows somehow combine contrapuntally to yield other rows.   He found arrays challenging to construct and would actually compose many works out of the few he managed to make.  

I've developed computer techniques to enumerate exhaustively all the arrays connected with a given row.  Just three such arrays provide all the material for this piece.

Unlike traditional serial music, I make a point of not compensating for the rigidity of the system by creating  layers and layers of fleeting intuitive details.  Straight ahead music here.  The arrays don't get transposed and that means the sound of the row itself becomes very familiar.  I do create contrast using tempo, articulation and dynamics, but I don't consider contrast an end in itself, but just a means to avoid fatiguing the ear as a strictly minimalist approach might.  But minimalism definitely informs my outlook here.



Peepers, for saxophone quartet

The doctors didn't know what was wrong with my lumbar area. They said it was a herniated disk. Later it was found to be a diabetic complication that ate the nerves away from my lumbar area. Only 0.000000000000000875% of the population get this. i am very lucky. 

piano collection 15b: Herniated Disks Much Better Now.

An early ditty from 2002, for piano solo. The second in the piano collection series. 

Peter Thoegersen - Piano Collection II a

This is my fourth symphony, and I am using new software that sounds better. The new software is not microtonal friendly, therefore, there will be two versions: standard and poly microtonal. This version is in 12tet and it is still highly polytempic. Each choir of the orchestra is moving separately in Fuxian contrapuntal motions, such as, contrary, parallel, similar and oblique, with respect to tempi changes in the choirs.

Another fact about this piece is that it uses many fragments of Gregorian chant from the Liber Usualis and is scattered throughout the single movement piece. The chants are of various lengths and are brief. The form could be considered a type of "variation" form; even if the chants are not literally repeated, they do act as a type of chaconne, over which the symphony plays and explores.

Symphony IV: melodiae perpetuae in polytempic polytonality

This is a composite of 12 tracks: 4 strings, 4 pianos, and 4 drumsets all in four different tempos and 4 different tunings. All instruments are playing the original Hypercube score! No added notes. 

Hypercube Version III (for Chamber Ensemble: Strings, Pianos, and drumsets)

Piano II #2

Piano II #3

Composer, mathematician, visual artist. 
Seeks collaboration with performers and choreographers.

Please don't spam this account!

Peepers, for saxophone quartet

David Victor Feldman

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