Jordan Alexander Key (b. 1990): "Meditation after the Death of Stephen Hawking," trio for soprano, flute, double bass, and fixed media on digital excerpts from Carl Sagan, Stephen Hawking, Richard Dawkins, Malala Yousafzai, Jane Goodall, and Wangari Maathai.

Thank you, Stephen Hawking, for being an inspiration throughout my life, showing me the value of lifelong learning, impassioned teaching, unabashed imagination, and perseverance in the face of adversity.

Written for the Fonema Consort

Premier: March 29, 2019, The University of Florida, Friends of Music Room
Performance: The Fonema Consort

music by Jordan Alexander Key:
https://www.jordanalexanderkey.com/

for a score/performance video animation with subtitles see:
https://www.youtube.com/watch?v=CiQSqwP5R-A

for a complete score see:
https://www.academia.edu/38897013/Meditation_after_the_Death_of_Stephen_Hawking_Trio_for_Soprano_Flute_Double_Bass_and_Fixed_Media

Meditation After The Death Of Stephen Hawking - Trio for Soprano, Flute, Double Bass and Fixed Media

Jordan Alexander Key (b. 1990): " 森林浴 : The Dance of Shinrinyoku and the Cuckoo Bird" from "Verses from the Scroll of Sondering" after the hand scroll of Taihaku Ishiyama

Written for the Bold City Contemporary Ensemble
First performance: Sarah Jane Young (flute), Boja Kragulj (clarinet), Philip Pan (violin), Lina Minke (cello), Galen Dean Peiskee (piano), Charlotte Mabrey (percussion)

For the complete score of all verses see: https://www.academia.edu/43400454/Verses_from_the_Scroll_of_Sondering_Six_Verses_after_the_Hand_Scroll_of_Taihaku_Ishiyama_for_Pierrot_Ensemble_Percussion_Commissioned_by_the_Harn_Museum_of_Art_Spring_2020_

_______________________________________

Verse Program Note:

The verse, " 森林浴: The Dance of Shinrinyoku and the Cuckoo Bird," follows again the abrupt shifts in aesthetic between the verses, this verse being perhaps the first ebullient piece of the collection. This verse is one of two dances in this entire work, both of which feature canonic writing; this verse features a canon between the violin and cello, and thus elevates them to the primary concern of this verse. This piece is a new kind of awakening from the first verse. While The Sacrament of Kogarashi signals the onset of winter, The Dance of Shinrinyoku proclaims the arrival of Spring, a time of renewal and rebirth. Thus, the sounds of birds are transformed from austere abstractions to whimsical oscinine trills and chirps amidst a springtide festival. The Japanese word Shinrinyoku (“sheen-reen-yo-koo”), literally meaning "forest bathing," is a warm-season relaxation exercise where one ventures deep into the woods where everything is peaceful. Having been an avid hiker in my adolescence and early adulthood living in the mountains of Virginia, I would often find myself in the forests of Appalachia. While peaceful to some extent, the forests were never quiet, always full of the bird songs native to that region, the chittering of squirrels in mating season, the hum of cicadas perched in the trees, the rush of wind in the leaves and water in the mountain streams. The forest in Spring is a place of many songs, a peace not of sterile ruminative silence but organic polyphloisbic counterpoint. As we move beyond the crags opening Ishiyama’s scroll we enter woodlands, and so are taken by the artist into our own “forest bath” amid the spiring ink trees of his scroll. However, I do not imagine a serene ablution under the canopy but rather one of rejuvenated animation.

Verses From The Scroll Of Sondering - 3. The Dance Of Shinrinyoku and the Cuckoo Bird

Jordan Alexander Key (b. 1990): " 物の哀れ : Mononoaware and the Avian Liturgy (Tempus Fugit)" from "Verses from the Scroll of Sondering" after the hand scroll of Taihaku Ishiyama

Written for the Bold City Contemporary Ensemble
First performance: Sarah Jane Young (flute), Boja Kragulj (clarinet), Philip Pan (violin), Lina Minke (cello), Galen Dean Peiskee (piano), Charlotte Mabrey (percussion)

For the complete score of all verses see: https://www.academia.edu/43400454/Verses_from_the_Scroll_of_Sondering_Six_Verses_after_the_Hand_Scroll_of_Taihaku_Ishiyama_for_Pierrot_Ensemble_Percussion_Commissioned_by_the_Harn_Museum_of_Art_Spring_2020_
_______________________________________

Verse Program Note:

The verse, 物の哀れ: Mononoaware and the Avian Liturgy (“Tempus Fugit”), is our midpoint in this collection and our moment of reflection before commencing with the cycle. One can perhaps continue our metaphor of the cycle of season in this verse: having traversed now through the austere and brisk Winter, and danced through the revitalized Spring, we now find ourselves in the quiet estival heat of a midsummer’s eve below the baldachin of stars. This is a slow and contemplative verse featuring improvisatory birds sounds from the percussionist on autoharp couched within a pondersome ensemble in a chant-like canon. The liturgy is embellished by the ritualistic chimes of the celesta/piano with the intermingling of bird calls, reminiscent of the initial verse and presaging the lethiferous rota of time’s wheel. The bird sounds that once were primal and unbridled are now constrained by the regularity of some cryptogenic, volucrine liturgy. However, though we believe in the permanence of our rites and rituals, the immortality of our liturgies and traditions, time will weather all into nothingness and return to its primordial commencement. The Japanese word, Mononoaware (“moh-no no ah-wa-reh”) or "the pathos of things," is the awareness of the impermanence of all things and the wistfulness at their ephemerality. While melancholy is associated with mononoaware, this feeling does not suggest a general sadness, but rather a deeply felt emotion that envelopes the feeler as he or she comprehends the transience of everything. Everything in existence is temporary: the beauty of youth, the passion of romance, the security of wealth, the privilege of power, the constancy of tradition, even the seemingly eternal changing of the seasons, cycle of the sun, orbit of the earth, and mosaic of the stars will all change and decay. As we worship the seeming immortality of such cosmic cycles by our millennia of tabulated requiescats and catalogued regulae, there is an abiding truth that they will inevitably and unavoidably fade, ultimately to disappear into the dissociated void of gas and dust in our ever expanding universe. However, the temporality of things should not be mourned but cherished, for such impermanence is the genesis of beauty.

Verses From The Scroll Of Sondering - 4. Mononoaware & the Avian Liturgy: "Tempus Fugit"

Jordan Alexander Key (b. 1990): " 木漏れ日: The Dance of Komorebi and the Cauldron of Fire" from "Verses from the Scroll of Sondering" after the hand scroll of Taihaku Ishiyama

Written for the Bold City Contemporary Ensemble
First performance: Sarah Jane Young (flute), Boja Kragulj (clarinet), Philip Pan (violin), Lina Minke (cello), Galen Dean Peiskee (piano), Charlotte Mabrey (percussion)

For the complete score of all verses see: https://www.academia.edu/43400454/Verses_from_the_Scroll_of_Sondering_Six_Verses_after_the_Hand_Scroll_of_Taihaku_Ishiyama_for_Pierrot_Ensemble_Percussion_Commissioned_by_the_Harn_Museum_of_Art_Spring_2020_

_______________________________________

Verse Program Note:

The verse, " 木漏れ日: The Dance of Komorebi and the Cauldron of Fire," brings us to an autumnal forest scene. The beginning of Fall in many parts of the world is a time of harvest and celebration before the stifling months of Winter. Here we have our second festive dance, a four parted canon and canonic fantasia. The Japanese word komorebi (“koh-mo-reh-bee”) refers to the sunlight that filters through the leaves of trees. If one has seen and walked among the kaleidoscopic panoramas of a temperate forest in Fall, the imagery of a “cauldron of fire” lit by the light of the sun chromatically rarefacted through the leaves overhead needs no further clarification. Though the verse is festive, the sense of "mononoaware" from the prior verse reminds us that such beauty is transient; the piece ends not with ululations but with whispers and the recurrent reminiscence and resurfacing of the ornithic liturgy of the prior verse, reminding us that all festivals end, all seasons change, and all life decays by the relentless flight of time.

Verses From The Scroll Of Sondering - 5. The Dance Of Komorebi and The Cauldron Of Fire

Jordan Alexander Key (b. 1990): " 幽玄: Yuugen’s Enunciation of the Infinities in the Chasm of Stars" from "Verses from the Scroll of Sondering" after the hand scroll of Taihaku Ishiyama

Written for the Bold City Contemporary Ensemble
First performance: Sarah Jane Young (flute), Boja Kragulj (clarinet), Philip Pan (violin), Lina Minke (cello), Galen Dean Peiskee (piano), Charlotte Mabrey (percussion)

For the complete score of all verses see: https://www.academia.edu/43400454/Verses_from_the_Scroll_of_Sondering_Six_Verses_after_the_Hand_Scroll_of_Taihaku_Ishiyama_for_Pierrot_Ensemble_Percussion_Commissioned_by_the_Harn_Museum_of_Art_Spring_2020_

_______________________________________

Verse Program Note:

The verse, 幽玄: Yuugen’s Enunciation of the Infinities in the Chasm of Stars, returns us to the beginning of our cycle; however, our return shows us only a shadow of where we began; there has been a transformation, a deliquescing of the pristine origin and diffusion of the primal substance of The Sacrament of Kogarashi. However, what emerges from this disintegration is not the false cycles we believe immortal, but the revelation of the deeper, subtler, most mysterious universal mechanisms that underlie all cycles, all transformations, all life, all cosmic occurrences. The Japanese word yuugen (“yoo-gen”) is an awareness of the universe that triggers emotional responses that are too mysterious and deep for words. No greater awareness of the subtly of the universe can be had than through the apprehension of the physics and mathematics that fuels all cosmic engines. As we approach the end of Ishiyama’s scroll we have reached the sea from the distant mountains, returned to the vision of the pristine origin; however, we are compelled onward, beyond this origin to a deeper truth. We find ourselves pulled into the black chasm of stars over and past the sea, we are pulled out of our cycle, beyond the seasons, beyond cycles of the moon and sun, beyond life, beyond death to the greater mystery of the cosmos. We are called to recognize the transience, and consequent beauty, of the human experience by enunciating that which is perhaps most immortal in this universe - not our laws but its own – by boldly contemplating, as mathematician Georg Cantor did in the late 19th century, the infinities of infinities, the infinities within infinities, and our humble ability to apprehend that which is most supreme and everlasting in our species’ perhaps evermore diminishing time to gaze upon this universe in miraculous self-awareness.

Verses From The Scroll Of Sondering - 6. Yuugen's Enunciation of Infinities in the Chasm of Stars

For a complete score see: https://www.academia.edu/43656511/Woodwind_Trio_The_Passion_of_Alan_Turing_The_Gay_Mathematician_Who_Saved_14_Million_Lives_for_Oboe_Clarinet_in_B-flat_and_Bassoon_

At the age of 13 in 1926, Alan Turing (1912 – 1954) began high school at the Sherborne Boarding School in Britain. Turing’s love for knowledge and education, even at a young age, was so much that, despite the 1926 General Strike, which effectively shut down the country’s railroad systems and prevented Turing from getting to school, Turing was so determined to attend that he rode his bicycle unaccompanied overnight for 60 miles to get to Sherborne and promptly start his education. His passion for learning and discovery would persist for the next and last 28 years of his life.

At Sherborne, Turing formed a significant friendship with his fellow classmate, Christopher Morcom (1911-1930), who is often described as Turning’s “first love.” This first love - its companionship of the mind, compassion for the spirit, and tragic end - would inform the fervor of Turing’s work for the rest of his life. Morcom was the one student at Sherborne with whom Turing felt most himself and could speak freely and equally about his thoughts on mathematics and science, which were prodigious for one so young, having already taught himself advanced mathematics well beyond calculus as well as read and annotated Einstein’s Essays on Special and General Relativity before the age of 16. Morcom and Turing spent many of their holidays together and were inseparable. Tragically, Morcom died very suddenly in 1930, having contracted bovine tuberculosis. Turing was 18. 

Turing was significantly heartbroken but coped with his grief by working more fastidiously on those studies and projects that he had shared with Morcom. In an archived letter Turing wrote to Morcom’s mother:

“I am sure I could not have found anywhere another companion so brilliant and yet so charming and unconceited. I regarded my interest in my work, and in such things as astronomy (to which he introduced me) as something to be shared with him and I think he felt a little the same about me ... I know I must put as much energy if not as much interest into my work as if he were alive, because that is what he would like me to do.”

The first movement of this Passion, The Young Love of Christopher Morcom, is in memory of this love story: an ebullient, passionate, cerebral, and possibly forbidden physical love that was cut too short but ultimately inspired a life of world changing work from Turing.

Woodwind Trio: The Passion of Alan Turing - 1. The Young Love of Christopher Morcom

For a complete score see: https://www.academia.edu/43656511/Woodwind_Trio_The_Passion_of_Alan_Turing_The_Gay_Mathematician_Who_Saved_14_Million_Lives_for_Oboe_Clarinet_in_B-flat_and_Bassoon_

In 1936, Turing published his first seminal paper: "On Computable Numbers." In this paper, Turing reformulated Kurt Gödel's 1931 results on the limits of proof and computation, replacing Gödel's universal arithmetic-based formal language with the formal and simple hypothetical devices that became known as “Turing machines,” essentially laying the ground work for what would become the modern computer, as recognized by seminal mathematician and computer scientist John von Neumann  To this day, Turing machines are a central object of study in the theory of computation. Turing was 24 years old.

Beginning in September of 1938, Turing worked part-time with the Government Code and Cypher School (GC&CS), the British codebreaking organization. His primary project was to decipher the German NAZI war code machine, called “Enigma.”

While at Bletchley Park’s Cypher research Lab, Turing had a reputation for eccentricity. He was known to his colleagues as "Prof" and his treatise on Enigma was known as the "Prof's Book.” This book of Turing’s various attempts to decipher the NAZI code machine’s mechanisms, sometimes employing his own base-36 system of numbers, became the central treatise and textbook to ultimately design the device that would significantly help end the Second World War on the European Stage.  The second movement, Prof’s Book and the Enigma Machine, attempts to signify one of Turing’s more simple base 36 deciphering algorithms. While the interior perpetual augmentation canon is simply a whimsical representation of the mathematical mind of Turing at work, the outer portions of the movement compress a simple base-36 numerical algorithm to a base-12 pitch and rhythm transformation that slowly changes the opening material from an atonal confusion to a delicate and pristine modal construct.

Woodwind Trio: The Passion of Alan Turing - 2. Profs Book and the Enigma Machine

2020

Places

Program notes:
Really, what was that?
Twisting and twirling; swishing and swirling; banging and rocking! 
We should listen carefully and groove it!
But. . . how?

What Was That? - Diogo Carvalho - Performed by the Bold City Contemporary Ensemble

Recorded by: Unheard-of//Ensemble


Dromic is the corresponding adjective to dromos, which is defined by Dictionary.com as:

noun

Archaeology. a passageway into an ancient subterranean tomb.

a racetrack in ancient Greece.

 

Sometimes our senses sluggishly react to fast events. 

Is it because we are in an unhurried mood and slowly respond to anything? 

What happens when we are racing?

What is the threshold for calling something a surprise or an “I saw it coming” event?

Dromic Episodes - Diogo Carvalho

Baritone and piano
Dedicated to Jeremy Huw Williams and Paula Fan
Poem by Debora Greger

Meditation After The Death Of Stephen Hawking - Trio for Soprano, Flute, Double Bass and Fixed Media

Jordan Alexander Key

Related tracks