Ambiance

Clássica

Instrumentals

String Quartets c;

Favorite Music

Wind Ensemble

Grammy Award-winning vocalist Hila Plitmann's live performance of my work, Hummingbrrd, adapted specifically for her for this concert at the Boston Court Theater, Pasadena, CA, May 23rd, 2010.

Hummingbrrd (Hila Plitmann, live)

This week's edition of the Classical Guitar Alive! radio program features an October 2013 interview and live studio performance by Spanish guitarist Pepe Romero.

Classical Guitar Alive promo 13-41 Pepe Romero Interview & Live Studio Performance

Beautiful City

Lyrics: Giannis Theodorakis
Music: Mikis Theodorakis

Όμορφη πόλη φωνές μουσικές
απέραντοι δρόμοι κλεμμένες ματιές
ο ήλιος χρυσίζει χέρια σπαρμένα
βουνά και γιαπιά πελάγη απλωμένα

Θα γίνεις δικιά μου πριν έρθει η νύχτα
τα χλωμά τα φώτα πριν ρίξουν δίχτυα
θα γίνεις δικιά μου

Θα γίνεις δικιά μου πριν έρθει η νύχτα
τα χλωμά τα φώτα πριν ρίξουν δίχτυα
θα γίνεις δικιά μου

Η νύχτα έφτασε τα παράθυρα κλείσαν
η νύχτα έπεσε οι δρόμοι χαθήκαν

-
Beautiful city - voices - music
endless streets - stoles glances
the sun pouring gold over parting hands
hillsides and building sites - the seas spreading out

You shall be mine before night falls
before the pale lights cast their nets
you shall be mine

You shall be mine before night falls
before the pale lights cast their nets
you shall be mine

The night has come - the windows have closed
the night has fallen - the roads have gone
-

Ville de beauté - voix - musiques
rues sans fin - regards volés
le soleil dore les mains qui se séparent
montagnes et échafaudages - la mer étale

Tu seras mienne avant que la nuit n'arrive
avant que les pâles lumières ne jettent leurs filets
Tu seras mienne 

Tu seras mienne avant que la nuit n'arrive
avant que les pâles lumières ne jettent leurs filets
Tu seras mienne 

La nuit est arrivée - les fenêtres se sont fermées
la nuit est tombée - les rues se sont perdues
-

Bella città, voci musicali
strade infinite, sguardi nascosti
il sole indora come mani che seminano 
monti e cantieri che si stendono come mari

Sarai mia prima che venga notte
prima che le fioche luci gettino le reti
sarai mia

Sarai mia prima che venga notte
prima che le fioche luci gettino le reti
sarai mia

La notte è arrivata, le finestre si sono chiuse
è scesa la notte le strade si sono perse
-

Schöne Stadt Stimmen Musik
unendliche Wege gestohlene Blicke
die Sonne geht unter Saat Hände
Berge und Ruinen erstreckende Meere

Du wirst Mein werden bevor die Nacht kommt
die blassen Lichter bvor diese Ihre Netze legen
Du wirst Mein werden

Du wirst Mein werden bevor die Nacht kommt
die blassen Lichter bvor diese Ihre Netze legen
Du wirst Mein werden

Die Nacht ist gekommen die Fenster sind geschlossen
Die Nacht fällt die Wege sind verloren
-

Ciudad hermosa voces músicas
calles vastas miradas robadas
el sol dora las manos dispersadas
montañas y edificios en obras piélagos alcanzados

Serás mía antes de que la noche venga
antes de que las luces pálidas tiren las redes
serás mía

Serás mía antes de que la noche venga
antes de que las luces pálidas tiren las redes
serás mía

La noche llega las ventanas se cerraron
la noche cayó las calles se perdieron
-

עיר יפה, קולות מוזיקה
רחובות אין סופיים, מבטים גנובים
השמש מזהיבה על ידיים זרועות
הרים ואתרי בניה, ים רחב

תהיי שלי בטרם בוא הליל
בטרם האורות החיוורים יפרשו רשת
תהיי שלי

תהיי שלי בטרם בוא הליל
בטרם האורות החיוורים יפרשו רשת
תהיי שלי

הלילה הגיע, החלונות נסגרו
הלילה בא הרחובות נעלמו

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Όμορφη Πόλη (Beautiful City) - Piano Solo

LIVE performance from historic Hill Auditorium in Ann Arbor. 

This performance features the McIver Quartet [Marjorie Bagley and Katherine McLin, violins, Scott Rawls, viola and Alexander Ezerman, cello] and the University of Michigan Symphony Band with Michael Haithcock, conducting.

Short Stories is a string quartet concerto commissioned by the University of North Carolina at Greensboro, The University of Michigan, The University of Texas, Northwestern University and the University of Colorado and dedicated to Kevin Geraldi.

Approximately 21 minutes long and scored for string quartet, winds and percussion.

View perusal score here: joelpuckett.com/Puckett_Short_Stories_perusal
Part I:

1.	Somewhere near the end [tutti]
2.	Introit [quartet]
3.	The Priests [viola and cello duet]

Part II:

4.	Recitative [quartet]
5.	mother and child [violin duet]

Part III:

6.	sonno agitato [ensemble alone]
7.	The Bridge [cadenza] [quartet]
8.	Ma Fin [tutti]

Program Note

“There will come a time when you believe everything is finished;
that will be the beginning.”

— Louis L’Amour, Lonely on the Mountain

What makes the construct of the short story itself so unique among other literary devices is the demands placed on the author to create a meaningful narrative. They must describe the relationships between characters, present a conflict, and resolve it in a remarkably short span. It takes a deft writer to cleverly craft within these restrictions, and yet some have pushed the genre further by creating collections of stories that seem at first disparate, but eventually are revealed to be intertwined. Much like these painstakingly crafted works of literature, Joel Puckett’s Short Stories is a study in structure. On the surface, it bears the appearance of eight vignettes strung together into a concerto for solo string quartet and wind ensemble. Upon listening, however, the work’s movements reveal themselves as inextricably linked through a layered thematic language that plays out through a sort of “game of pairs.”

The external movements of the work serve as a frame story, not unlike Chuck Palahniuk’s novel Haunted, which the composer cites as an influential on the structure of the work. Between the external movements, Puckett presents three pairs of linked movements. Each of these sections highlights two of the solo voices, featured at the section’s conclusion with a virtuosic duo cadenza. The final internal grouping—the sixth and seventh movements—takes the independent duo cadenzas and superimposes them. It is only at this climactic moment that we hear that the concerto’s primary theme—the basis for both the first and last movements—is the combination of the elements within these cadenzas. In a sense, the entire work evolves from the constituent solo playing of its stars.

The opening—amusingly titled “Somewhere near the end”—introduces the notion of pairs in its own way. There is diametric conflict between both the soloists and the ensemble as, until the end of the movement, the two groups play almost exclusively in isolation. The harmonic language likewise poses friction, first hinting at the unbridled optimism of D major, and almost immediately thereafter shattering it with a tempestuous dissonance of extended harmonies in G minor. The effect is that of a series of dramatic wailings that set the stage for the players.

The first internal section, comprising the movements “Introit” and “The Priests,” is based on ancient liturgical materials. The introit itself is a part of the Proper of the Catholic mass, and this placid movement also presents a part of the Mass’ Ordinary by way of a “Kyrie,” passed from instrument to instrument in the movement’s center. The dramatic beginning of “The Priests” is a stark contrast with its bold chorale scored solely for brass and saxophones, and the rhythmic ostinato from the low strings (“Regina Coeli”: a reference to the antiphon to the Virgin Mary). Complex mixed meters dominate the pulse as a punchy homophonic accompaniment supports the vivid rhythms of the soloists.

The contrasting middle pairing (“Recitative” and “mother and child”) has a basis in Baroque opera, modeling a recitative and aria. “Recitative” serves mostly as an introduction, with a sparse accompaniment of vibraphone, celesta, and harp. The opening of “mother and child” expands the instrumentation to include the woodwinds and horns, dancing about gracefully with a patient, yet lilting tempo. This middle section is the longest single segment of the piece, and harmonically the most static, as it floats past slowly in a cloudy, dreamlike E-flat major. The gentle caress of the violin duet is both captivating and endearing throughout.

The tonal center of E-flat remains for the sixth movement, but little else is held as the pleasant dream of the middle section is roused by “sonno agitato”—literally, “restless sleep.” This movement, solely for the ripieno, harkens back to the most tumultuous moments of the first movement. The pulse quickens unrelentingly and the ensemble spills over, out of control, into “The Bridge,” a cadenza for the concertino. Here the previous duo cadenzas are pressed into conflict with each other in a manner that seems incompatible and dissonant. As the soloists play together, however, the argument between them is sated and they begin to find a synergy in their florid and virtuosic variations. The energetic realization of the work’s opening motive ushers in the ebullient “Ma Fin” (a nod to Machaut’s rondeau “Ma fin est mon commencement”—literally, “my beginning is my end”). This finale starts with a return to the first movement, but this time, the soloists come together as one and, with a battering of thirty-second notes, breaks through the restlessness of the ensemble and forces them back on track into the brilliant opening, finally moving together toward their happily ever afters.

—Jacob Wallace

Short Stories [string quartet concerto] UMICH LIVE

The original Juilliard version from 1996. For triple string quartet.

Tree

Middle movement excerpt from the viola sonata 'Deep Sky Blue', from Deubner-Fauchet Duo's soon-to-be-released CD.
Brett Deubner, viola | Caroline Fauchet, piano

Deep Sky Blue - ii. Simply

Composed & Played by www.StanLeonard.com
Tell me why?

Why?

Why? (solo guitar)

Angel Song

Performed by the U.S. Marine Band on Feb. 2, 2014 at Rachel M. Schlesinger Concert Hall and Arts Center in Alexandria, VA
Maj. Jason K. Fettig, conducting
http://www.marineband.marines.mil/AudioResources/WebExclusives.aspx#newmusic
©2003 OK Feel Good Music

Chunk

Love Away 

Love, just love away 
Just do it everyday 
Just do it every way 

All my friends, they pretend 
The end is just around the bend 
But since you came along 
I'm not believin' it 

Sunshine, destiny 
The birds and bees and centipedes 
Until you came along 
I never needed it 

Love, just love away 
Just do it everyday 
Just do it every way 

Money, power, a man of means 
Chasing down irrational dreams 
But when you came along 
I was freed of it 

Throw your TV out the door 
One, two, three, four, on the floor! 
And if you sing a song 
You'll believe in it 

Love, just love away 
Just do it everyday 
Just do it every way

from Capital Cities, 2011 
Written, performed and produced by Sebu Simonian and Ryan Merchant.
Additional guitar by Nick Merwin.



In A Tidal Wave of Mystery

Love Away

EDGES is inspired by several events in my life over the period of 1995-97.  Two are near-death experiences, while the third is the sudden passing of one of my closest colleagues and best friends, Professor Robert Cooper.  

The first movement, "BACK FROM THE EDGE", is a chronicle of the battle that I waged with "flesh-eating strep", which nearly cost me my life in spring, 1995.  A fragment of a line from French playwright Jean Genet’s “Prisoner of Love” served as additional inspiration: 

 “perhaps all music, even the newest, is not so much something discovered as something that re-emerges from where it lay in memory, inaudible as a melody cut in a disc of flesh.  A composer lets me hear a song that has always been shut up silent within me.”

In a sense, my life has re-emerged from where it lay, for a while, silent, in memory.

Movement II, "POSTCARDS", is inspired by my mentor and friend, composer Donald Erb, who had his own near-death experience about a year later in the same Ithaca, New York hospital (a bizarre coincidence).  I know that he shared many of the mental aberrations I experienced during the recovery process, and POSTCARDS reflects the strange visions, the elusive but more and more frequent moments of clarity, and the eventual return to reality that such experiences create.  For me, in retrospect, these thoughts were like vivid postcards of other realities, sent to me by another part of my mind and filtered through the pain, the fear, and the medications that I had been given.  There was also a highly obsessive quality to my thoughts during the reco-very, which is reflected in the primary melodic material which simply refuses to disappear, though it changes colors, dynamics, and tempos at every turn.

Postcards -- real postcards, that is -- also played a role in my experiences.  While recovering, I received a post card (often of questionable taste) every two or three days from Don.  When it was his turn to be in recovery, it was my turn to send him postcards (equally questionable)...they seem now to me to be a lifeline to reality from people who are eager to welcome us back.

A quote was inspirational for this second movement as well, this time from Hermann Hesse’s Damien:

“In each individual the spirit is made flesh, in each one the whole of creation suffers, in each one a Savior is crucified.”

The final movement is a reflection on the amazing, wonderful, and sometimes difficult life of my colleague, Robert Cooper.  Robert had, without a doubt, the speediest metabolism of anyone I have ever known.  Lunch with Robert could be defined as both of us eating for the first five minutes and Robert watching me finish eating for the last 45.  Robert had two computers in his office and a phone; often all three were busy at once, while he carried on at least one additional conversation with whomever was present.  Yet Robert had great depth too.  He was a living example to students and colleagues, especially in facing life’s travails with courage and conviction.  He was also funny as hell.  I suppose that Robert’s pace was impossible to sustain, and in fact he died suddenly at age 45 on September 18, 1997. 

No quotations needed with this movement.  This one’s for you, man.


EDGES Movement III OhMan for wind ensemble

EDGES Movement II Postcards for wind ensemble

EDGES Movement I Back from the Edge for wind ensemble

Capital Cities resurrect one 2Pac's most inspiring lines and sample it in their cover of a Pink Floyd classic.

Free Download

Capital Cities - Breathe (feat. 2Pac)

Kangaroo Court

Vitamin String Quartet Performs Taylor Swift Feat. The Civil Wars - Safe & Sound

written, produced, recorded, engineered by Tori Kelly

Confetti

Vitamin String Quartet Performs Modern Rock Hits 2012 Vol. 1 is available now: http://vsq.io/mrh12v2

Vitamin String Quartet Performs The Lumineers' "Ho Hey"

Northwestern University Symphonic Wind Ensemble
conducted by Dr. Mallory Thompson
Pick-Staiger Concert Hall, Evanston IL
April 19, 2013

Symphony No. 1, My Hands Are a City

Vitamin String Quartet Performs Modern Rock Hits 2011 Vol. 2 is available now: http://vsq.io/modrck2011v2

Vitamin String Quartet Performs M83's "Midnight City"

VSQ Performs Modern Rock Hits 2012 Volume 2 is available now: http://vsq.io/mrh12v2

Vitamin String Quartet Performs Ed Sheeran's "The A Team"

The Florida State University Chamber Winds and Women's Glee Club
Richard Clary, conductor

Opperman Music Hall, Tallahassee FL, April 11, 2013 
Dr. Judy Bowers, Music Director, University Women's Glee Club
SCALE SHIFT by Marcella Durand, used by kind permission of Belladonna* Series and Marcella Durand.


Vivid Geography

Executive Producers: Kevin "K-O." Olusola and Endless Noise 
Arrangement by: Kevin "K-O." Olusola and Ben Bram
Produced by: Kevin "K-O." Olusola, Jeff Elmassian, Mary Catherine Finney, Grant Cornish and Ben Bram
Engineered by: Grant Cornish and Ben Bram
Mastered by: Bob DeMaa

Solo Cello and Beatboxer: Kevin "K-O." Olusola
Piano: Ben Bram
Violin 1: Mona Tian
Violin 2: Andy Studer
Viola: Alessandra Barrett
Cello: Judy Kang


And check out the websites of those that helped me in the process :)
www.endlessnoise.com
www.thebenbram.com
www.dunotran.com

Heart Attack (Demi Lovato K-O.ver) - String Quartet, Piano, & Cellobox by Kevin "K-O." Olusola

Joel Puckett is a composer leaving both audiences and the press buzzing. His music has been described as, “soaringly lyrical” (Minneapolis Star Tribune), “Puccini-esque” (Wall Street Journal), and “containing a density within a clarity, polyphony within the simple and – most importantly – beautiful and seemingly spiritual.” (Audiophile Audition). Parterre Box recently proclaimed, “Puckett should be a household name” and the Philadelphia Inquirer’s David Patrick Stearns mused, “if the name Joel Puckett isn’t etched into your brain, it should be.” In 2011 NPR Music listed him as one of the top 100 composers under 40 in the world.

Hailed as “visionary” (Washington Post) and “an astonishingly original voice” (Philadelphia Inquirer), his music is performed by the leading artists of our day and is consistently recognized by organizations such as the American Composers Forum, BMI, Chorus America, National Public Radio, and the American Bandmasters Association.

Puckett’s music attracts diverse performers and listeners through its emotional energy and commitment. Melding tradition with innovation, his distinctive style grows from his power to create transcendent experiences using charismatic musical language.

The Fix, a grand opera commissioned by Minnesota Opera, premiered in the March 2019 to packed houses, enthusiastic audiences, and largely effusve praise. With a libretto by Academy Award and Tony Award winner, Eric Simonson, the work depicts the rise and fall of the 1919 Chicago White Sox. It is a tragedy ripe with power, romance and redemption, set against the backdrop of America’s favorite pastime. Puckett’s earlier commissions have been premiered and performed worldwide, to exuberant critical acclaim.

His flute concerto, The Shadow of Sirius, premiered in 2010 and has received more than 200 performances and been recorded multiple times, including 2015’s Naxos Surround Sound disc, “Shadow of Sirius,” which received a 2016 Grammy Nomination. Currently the Chair of Music Theory, Ear Training, and Piano Skills at the Peabody Conservatory in Baltimore, Puckett presents workshops nationwide and frequently serves as an adjudicator at competitions for rising composers. His music is represented worldwide by Bill Holab Music.