"Year Without Summer" was featured on The Upstate Soundscape (01.25.12)

So far, I'm really enjoying it.  Is there a time signature that I'm not picking up on or is it changing a whole lot?  It would be really interesting to see what went into composing this piece, but alas, even if you have sheet music I couldn't read it.

Caprice for solo violin, performed by Ari Streisfeld, June 2014

Caprice, for violin

Performed by <a href="http://www.ensemble-linea.com">Ensemble Linea</a> live at <a href="http://www.music21c.org/index.php/june-in-buffalo">June in Buffalo 2011</a>: Jean-Philipe Wurtz (conductor), Keiko Murakami (flute), Andrea Nagy (clarinet), Reto Staub (piano), Maiko Matsuoka (violin), Johannes Burghoff (cello).

Akin to a flip book’s slow progression, but encompassing a radical change of a scene’s perspective along with the development of action, Year Without Summer (Daumenkino) develops several recent ideas in my work: the structure of music as a series of successive cells or frames (in the visual or cinematic sense), and combinations of multiple, rapidly changing sonorities. In this piece, a five-note phrase is reiterated persistently while very gradually transforming rhythmically and registrally.  In contrast, each phrase contains jarring, rapid, and abrupt changes in orchestration and sound combinations. The piece’s dichotomy of repetition and slow, continuous changes versus a lively and active surface creates an at-times uncomfortable middle ground between a traditional, linear listening experience and a more meditative, moment-to-moment experience. In a further thematic continuation of some of my recent music, the title is a playful allusion to the infamous climate of my current home: <a href="http://en.wikipedia.org/wiki/Buffalo,_ny">Buffalo, NY</a>.

Year Without Summer (Daumenkino) [2011]

Composed for and premiered by Chamber Cartel

Program Notes:
Years ago, while taking an accompanying class in undergrad, two of my colleagues were working on the Brahms Violin Sonata No. 1, Op. 78. It is piece that continues to floor me. Of the many astonishingly beautiful moments throughout, the piano chords at the outset have always been of particular interest. Brahms takes simple triads and voices them perfectly—the register, the spacing of the notes, the way those chords provide a buoyant cushion over which the violin melody stretches out—all of these elements combine to create something sublime.

In a way, I’ve been trying to live within the world of those chords for some time now. Brahms’ chords serve a traditional role in harmonizing a melody, and yet, is the melody necessary? More simply put, can chords, these monolithic musical creatures, rome free?

//

Domination of Black is taken from a poem of the same title by Wallace Stevens. The notion of a singular color exerting “dominance” reminds me of a James Turrell exhibit I once attended. For one of Turrell’s pieces, I entered a room that seemed pitch black. My eyes, however, adjusted and I realized there was a light sculpture in the corner. The darkness, once absorbed, provided a focus that illuminated so much subtlety.  

//

Out of the window,
I saw how the planets gathered
Like the leaves themselves
Turning in the wind.
I saw how night came,
Came striding like the color of the heavy hemlocks
I felt afraid.
And I remembered the cry of the peacocks.

(closing stanza to Domination of Black by Wallace Stevens)

Domination Of Black

Pedro Alvarez 
Inherent Nodes (2009)
for soprano, alto, tenor, bass and contrabass guitars. 
Consort Guitarrístico de Chile. 
www.pedroalvarez.info

Inherent Nodes

Commissioned by Ensemble Apparat for their Science Fiction Double Feature. References include the Shrike from Dan Simmons' Hyperion Cantos and the collective consciousness of the Borg.

Performed by Ensemble Apparat on October 3, 2015 at the Akademie der Künst in Berlin. Radio broadcast rights held by deutschlandfunk.

Proxy

Live recording by Oerknal! new music ensemble.
Gregory Charette, conductor

Breather

Shield Your Eyes unreleased track

Performer:
Schuyler Tsuda

Plates I

live recording, first performance

Weston Olencki, trombone
Eric Wubbels, prepared piano

St. Peter's Church, Chelsea
New York, NY
June 10th, 2016



contraposition I. IMAGE

The two enharmonic madrigals found in "L'antica musica ridotta alla prattica moderna" (Rome 1555), played on a reconstruction of Vicentino's Archicembalo, built by Marco Tiella and Formentelli in 1974. Live performance by Johannes Keller. 

Year Without Summer (Daumenkino) [2011]

Jacob Gotlib

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