Performed by Fonema Consort

Nina Dante, soprano vocalist
Nathalie Colas, soprano vocalist
Dalia Chin, flute
Emily Beisel, bass clarinet
Juliana Gaona-Villamizar, oboe
Weston Olencki, trombone
Kathryn Schulmeister, double bass
Samuel Rowe, electric guitar
Julia Den Boer, synthesizer
Ryan Packard, percussion
Pablo Chin, artistic director

Recorded at GSI Studios in New York City, Experimental Sound Studio in Chicago, UCSD, Columbia Computer Music Center, and at home-studios in Vermont, San Diego, and Oregon.

Mixed by Murat Çolak.

Self-Care

For pedal steel guitar and percussion. Performed by party of one: Liz Faure and Jess Tsang.

Paris, Texas

NYU Contemporary Music Ensemble
Jonathan Haas, Director/Conductor

Monday, April 28, 2014
Frederick Loewe Theatre

HOLLYWOOD

For full orchestra. Featuring the NYU Symphony Orchestra, January 2014

"Find Light in the Beautiful Sea"

Augun for cello and electronics, performed by Fjóla Evans

Augun

Performance by Whitney Mather, Daniel Morphy, and Wesley Shen

Loom for soprano, piano, and vibraphone

LUNG 
Performed live by the Yale Philharmonia on December 7th, 2017

LUNG

mammal for prepared piano solo
Performed live by Vicky Chow at the Banff Centre for the Arts, August 2017

mammal

Eroding, for sextet  (2017)

Maria Luisk, alto flute; Michael Moy, bass clarinet; Matt Keown, vibraphone; Sophiko Simsive, piano; Kyungah Oh, violin; Yiqiu Chen, cello

Over thousands of years the glacial river Hvítá in Iceland has carved a deep gorge into the surrounding rock. At one particular twist in the river, the erosion has left several huge pillars of hyaloclastite rock, which look as if they were flung haphazardly into the riverbed. In fact they were revealed slowly over time from the process of the river carving away their surroundings. In Eroding, the players create a dense mass that gets worn down over time in order to reveal the spiky formations beneath the surface.

Eroding

Fljótandi (2017)
For multi-tracked cellos and voice

As an acoustic instrument, a cello can get really loud. In Fljótandi, I wanted the cello to be as resonant and voluminous as possible in order to create a sort of physical meditation on sound. Fljótandi is built on the dissonance between the drones of the lowest string (tuned to a low A), and the high harmonic partials. By constantly shifting the timing and textures of these elements, my aim is to slowly reveal new facets of the sound world.

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