performed live on 24 July 2021 at the Alliance of Resident Theaters, 128 S Oxford Street Brooklyn, as part of Team Of Collaborative Associates' debut festival - CATfest 2021.

field recordings taken in Carrabassett Valley and East Winthrop ME as well as Ridgewood, Queens, NY and Bushwick, Brooklyn, NY. electronics mixed (pre-performance) by myself.

personnel:

Ezra Gans - (prepared) alto clarinet
Thomas A Giles - (prepared) bass clarinet
Cole Blouin - electric guitar
Lauren Siess - viola (left)
Elijah Spies - viola (right)

electronics triggered by William Fowler Davis. Live sound, recording, by William Fowler Davis, with additional postproduction by myself.

program notes:

(time, as) dye, fabric, spent longing
time as dye, time as fabric, time spent longing
dye as time, fabric as time, longing felt as time
.

(Time, as) dye, fabric, spent longing is a music of possibility and branching futures. It imagines the present as a space imbued with many pasts and many futures which entangle and disentangle themselves according to fluctuations in time of day, mood, location. The music may be heard as imbued, at different points in time, with hope, beauty, longing, despair, fullness, emptiness, and anxiety towards potential destructions. The opening section of the piece examines the coexistence of several presents. Something hovers ‘above’ something else, as in the constant and magic possibility of ascent-in-place in the lyricism of Arthur Russell, or as in the Leonard Cohen lyric “and while he talks his dreams to sleep, you notice there’s a highway that is curling up like smoke above his shoulder”. The middle section of the piece is a series of sound-fantasies which offer snapshots of possible developments as potentialized in the piece’s first part: glimpses of, or willful acts as prayers towards, a wild and unknown future. The third and final section of the piece burrows into the present and allows the listener to dream of or forget the fantasies promised in the middle section.

Images (not my own) which inspired me to write: two floating dreamers, cast into flight by the spinning of a table tennis paddle, exchange whispers above a prison-turned-karaoke bar. A bird calls from the bushes and its song reverberates across decades of recollection. Some time in the late 80’s, an author and a literary critic duel, with swords, on a beach. A middle-aged single mother cooks dinner for her teenaged son. A man keeps a flame lit. (Gan/English/Bolaño/Akerman/Tarkovsky).

The score bears a dedication:

"in recognition
Roberto BOLAÑO
Bi GAN
Chantal AKERMAN
Andrei TARKOVSKY
Lawrence ENGLISH
with curiosity and appreciation".

(time, as) dye, fabric, spent longing [2021]

performed live on 24 July 2021 at the Alliance of Resident Theaters, 128 S Oxford Street Brooklyn, as part of Team Of Collaborative Associates' debut festival - CATfest 2021.

personnel:

Thomas A Giles - soprano saxophone, radio

recorded and mixed by William Fowler Davis.

.

written between October 2020 and February 2021, with revisions up through April 2021. Written for Thomas. Dedicated to Thomas, and also our Team of Collaborative Associates collaborative associates, Anthony Stillabower and Lauren Siess, and also to Trevor Bača, for the conversations and encouragement.

Program notes at
https://drive.google.com/file/d/17rRK-EWKBfX0FyllFv8VYQvlqSf2SkCf/view?usp=sharing

(They're worth looking at; they'll shed some light on what's happening here.)

.

this piece is a type of love song.

Mundiglossia/Bloom (', patiently') [2020-2021]

thanks doc w MRI

Graduation performance by Prof. Misty Rondeau's students of the Mars Hill University Wind Ensemble (Prof. Rondeau conducting).

Essay for Sextet

**live recording**

Eva Zöllner - Accordion
Heather Roche - Bb Clarinet

zoellner-roche.com/

2023

[Atlas] Ambages:Adhesions / ‘...bog water...a numerous bouquet...’

post-minimal music for clarinet, viola, harp, celesta, vibraphone and strings.

small gestures (2024)

This composition for guitar and tenor recorder is about the destructiveness of war. The title comes from an Aztec poem about the conquest of Mexico. 

The piece begins with a slow unmetered recorder solo featuring glissandi and bent tones. The guitar enters in a slightly faster tempo on a quiet D-minor melody. The guitar gradually speeds up, then the recorder speeds up until both are in the same tempo. Both instruments gradually become more discordant and more in conflict, reaching a climax with crossed strings in the guitar and multiphonics in the recorder. At the end, an altered version of the recorder melody returns, this time supported by coloristic touches in the guitar. The piece ends quietly in the hope that beyond the songs of sorrow there may be new flowers for those wise enough to see them.

Nothing But Flowers And Songs Of Sorrow

"Kriobolos" is a Greek word referring to a bloody sacrifice of rams.  In writing the piece I was thinking about the sacrifices entailed by devoting one's life to music.  I was thinking especially of the particular difficulties that confront women composers, and of the difficulties of dealing with familial rejection and misunderstanding.  The piece is structured in three broad sections.  It begins with a harsh chromatic chord, which reasserts itself throughout the piece.  The A section ends with a long melancholic theme played first by solo trombone and then played in canon by various string groupings.  The B section overlays hocketing woodwinds onto a string chord cluster.  The cluster becomes bigger, louder, and denser as the section draws to an end.  The woodwinds are supported by repeating melodic and rhythmic patterns of different lengths, which begin layering in canon at the end of the section.  The A' section returns to the opening dissonance and leads into a long development section. The piece ends with a return to the melancholic theme.

This piece was chosen for the 1993 New Music Reading Session by the Women's Philharmonic in San Francisco., where it was conducted by Elizabeth Shulze. After the reading session it was selected by Joann Falletta to be premiered during the Philharmonic's next concert season; however, due to the orchestra's financial circumstances the performance was canceled.

 Instrumentation: Orchestra (2,2,2,2,2,1,1,3 Perc.)

Kriobolos

So I accidentally started a series of solo instrumental works and before I knew it I was on number three. [Figment No. 1 is for Alto Sax, No. 2 for Violin]. 
Figment No. 3 "Euterpe" was written for my good friend and flutist Misty Rondeau Theisen as a birthday gift in 2005.
Misty Rondeau Theisen is one half of the flute/saxophone Duo Fujin. Check them out here:www.duofujin.com
Also Marc Ballard is the other half of Duo Fujin and you can hear him performing on the soprano sax in my Canon In Memoriam Iannis Xenakis for Sax Quartet.



Figment No 3 Euterpe for Flute Alone (2005) performed by Misty Rondeau Theisen of Duo Fujin

Bloom for English horn and Wind Ensemble

commissioned by Michael Norsworthy, this performance is by Rane Moore and Donald Berman.

Nebraska Impromptu

I am a composer of new music or contemporary classical music whatever name you like or whichever carries the least amount of baggage in your mind. I don't care which term you use but please take a moment to listen to my works.

I currently reside in Gateswood, Alabama with my wife , Cheryl, and our son, Asa. 

I love chamber music. I write lots of it. In fact that is the only music I have written so far. Mainly it's because I've known so many great performers and I've had the opportunity to compose for them.

If you want any scores or have any questions just let me know. 
Hopefully soon I will have more recent works on the site.

Figment No 3 Euterpe for Flute Alone (2005) performed by Misty Rondeau Theisen of Duo Fujin

Everette Minchew

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