JH24-2 Aughrim 21-08-1972

For solo female voice. Composed for and premiered by Nina Dante at Constellation, Chicago.

Text adapted from the Brothers Grimm and Hans Christian Andersen:


The sun was about to go down when she heard a rushing sound and saw six swans fly in through the window. Suddenly, their feathers came off like shirts and the girl recognized them as her brothers. She was happy and crawled out from beneath the bed. Crying, the little sister said, "Can you not be saved?" "They only way” they answered, “is for you to not speak or to laugh for six years, and in that time you would have to sew together six little shirts out of daisies for us. And if a single word were to leave your lips, all your work would be lost."
After the brothers had said this, they turned back into swans and flew out the window.
So the little girl climbed up a tree in the middle of the woods and began to sew. She could not speak with anyone, and she had no desire to laugh. She sat there, looking only at her work for one year, two years, three years, four years….

_______________________________________________

The old woman said, "My child, what have you done? Why did you pick the twelve white flowers? Those were your brothers, and now they’ve been transformed into ravens forever."

“The only way to redeem them is for you to remain silent for seven whole years. And If you speak a single word in the final hour of the seven years your brothers will be killed by that one word."
Then the girl climbed up a tall tree where she sat without speaking or laughing. And sat there year after year…

______________________________________________

“But I must be paid” said the witch  “And the price I demand for my draught is your voice, the best thing you possess”

‘but don’t worry, with your beautiful form, your graceful walk, and your expressive eyes; surely you can enchant a man’s heart. 

Then she cut off the mermaid’s tongue so she would ever speak again.




Tell, Monologue for Solo Female Voice

As in numerous other political, cultural, and social situations, Turkish Republic’s Westernization program had crucial effects on its musical culture. The ‘polyphonization’ of the then monophonic/heterophonic Turkish music was seen as the way-out from its ‘backward’ origins to its integration to the global musical culture – a modern sound that refers to its roots. 

The title of my piece böcekçe (literally ‘insect language’) is a reference to the 1943 orchestral composition by the Turkish composer Ulvi Cemal Erkin. Erkin’s piece Köçekçe is a dance rhapsody which makes use of numerous folk songs, harmonized and orchestrated in Western tradition. In a way, this is a paradigmatic moment in defining the destiny of a composer in this geography: to think about the technique of the west and the material of one’s own ‘blood’.

My piece is a series of attempts at harmonizing, serializing and deconstructing (all Western techniques) of a made-up melody, trying to put the solution of fusion of cultural elements into question at every moment. 



böcekçe (insect polyphony)

Musicians of the Wellesley Composers Conference. James Baker, conductor. Live performance, 7/23/16.

Snowlight Sketch for sinfonietta (2016)

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Mad Decent and Calypso Rose have hand selected Yaeji, Tony Quattro, Gregor Salto, Aquadrop and Mina for the second set of “LEAVE ME ALONE” remixes out on the label. Korean/American artist Yaeji delivers a stunning edit in her vein of whisper electronica, with Tony Quattro offering a globally influenced New York house rework. Dutch producer Gregor Salto imparts tribal house on the original, before Italy’s Aquadrop and London based Mina each supply unique takes on the track.

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Leave Me Alone (feat. Manu Chao) [Mad Decent Remixes]

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Calypso Rose - Leave Me Alone (feat. Manu Chao) [Yaeji Remix]

Hannah Lash, Filigree In Textile (movement 1)

Piece no. 3 from the Piece-a-day project at the Tanglewood Music Center.
Flute: Johanna Gruskin
Clarinet: Matthew Griffiths

2019-08-17 0230PM CD1

Figment III: Waltz

Written for PinkNoise
Roberta Michel (flute); Eric Umble (clarinet); Johnna Wu (violin); Isse Herr (cello) Han Chen (piano)
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I am fascinated by the physical and psychoacoustic properties of sound. duality ii is one of several pieces I've been working on lately that specifically concern the rhythm-pitch duality; that is, a pitch, when slowed down enough, becomes a rhythm, and a rhythm, when sped up fast enough, becomes a pitch. This physical principle is literally presented and symbolically represented throughout the piece by means of shaping sounds in ways that may reveal their physical phenomena and make them perceptible. However, the goal is not to know exactly the processes underpinning the music; rather, the goal is to feel the overall physicality of the sound itself.

duality ii, for ensemble and electronics

South African House, meet the Queen of Soul.

Tell, Monologue for Solo Female Voice

Jack Hughes

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