performed by Jack Yarbrough, pianist

premiered at Composers Conference 2021

July 27, 2021
Seully Hall, Boston Conservatory, Boston, MA

The Departure of Time [Jack Yarbrough]

Live electronics with vibrating shells looking at the vitality of eco-anxieties and corporatized blackness fueled by:

"brushes of swiftness of adrenalines,
swirling anxieties,
late night snacks,
burst of laughters/cries,
sweeps of turntables states,
eradication and amplification of blackness,
vibrating collected trophies,
absences of resilience,
sweetness of life,
bent physicalities,
sore braiding fingers."

Porcelains/eco/#stillmagical

Please, use headphones or good loudspeakers.

The purple fuchsia bled upon the ground. (2023–24)
Commission: Westdeutschen Rundfunk & Wien Modern

Live Recording: Pierre-Laurent Aimard & WDR Orchestra (cond. Elena Schwarz), 12 May 2024, Cologne

Photo: WDR/Holger Talinski

The purple fuchsia bled upon the ground. (2023–24), for piano and orchestra

commissioned and performed by Blaurenz Duo
Rebecca Blau - flute
Rebecca Lawrence - double bass 
electronics – Isaac Roth Blumfield

live recording at Theater Pavillion, Lucerne, Switzerland on July 8, 2024

recording - Fernando Manassero
mix - Isaac Roth Blumfield

Half life | for amplified alto flute and double bass (2024)

Madrigal for.. (six pianos in 72 edo)

Ataraxy of the End

L’amour pur for vocalist and electronics
Commissioned as First Prize Winner of Sweetwater/SEAMUS Commission Award 

-
Program Note

A pure, bold, dazzling connection of souls
At a heartbreakingly beautiful point in time and space. 

How truthful and courageous can you truly be?

-
Studio recording version
Performed & Mixing by Liann J. Kang

L'amour pur (2024)

performed by Abbey Felton on Aug 1, 2025 at Lichtenbergschule, Darmstädter Ferienkurse 2025

written for the workshop "Co-Lab," organized by Yaron Deutsch and Clara Iannotta

recording and mix: Isaac Roth Blumfield

Still hollow | for classical guitar (2025)

performed by Yarn/Wire at Paine Hall, Harvard University on February 28, 2025

Laura Barger – piano
Julia Den Boer – sampler & MIDI controller
Russell Greenberg – percussion
Dennis Sullivan – percussion

recording: Anthony DiBartolo
mix: Isaac Roth Blumfield

Program note:

In English, the word "dream" has a positive connotation, but there is a thin
boundary between a dream and a nightmare, and our experience of dreaming
rarely fits neatly into either category. In dreaming, a fluidity emerges between
bliss and dread, and one's desire to escape reality can collapse at any moment.
Familiar places, people, objects, animals might emerge, and as we dream we
know that it is both really them and really not them at the same time. Something
both illusory and deeply real is happening. While you listen, try to fall asleep.

The electronics for this work were prepared at the Südwestrundfunk Experimentalstudio in Freiburg, Germany through their Workstay program with assistance from Thomas Hummel, sound designer, with recordings performed by James Morley, cello, and Rebecca Lawrence, double bass


Like a dream I can' t wake up from | for Yarn/Wire & electronics (2024-25)

https://joshuamastel.com/Blur/
Performed by the New Fromm Players at Tanglewood Music Center August 18, 2025.
Sheena Lan, violin
James Gikas, violin
Audrey Wang, viola
Han Lee, cello

Blur | for string quartet (2025)

for string quartet [2016-19]
Performed by the JACK Quartet [https://jackquartet.com]
Commissioned by the Westdeutschen Rundfunks for the JACK Quartet and the Wittener Tage fur neue Kammermusik

This is a performance of the second half of the piece. The first part was written after this performance. The JACK Quartet & I are actively looking for opportunities to premiere the finished piece. Contact me if you have the means & the interest in programming this 60-minute quartet.

More info here: https://www.timothy-mccormack.com/yourbodyisavolume

Blur | for string quartet (2025)

Joshua Mastel

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