of stone and spring - for solo viola and electronics (2024)

of stone and spring draws on materials from my collaborations on installations with the architecture students at Les Ecoles d’Art Américaines de Fontainebleau during my time there in Summer 2023. We collaborated on projects inspired by multiple architectural elements of the Fonteainbleau Chateau, including the flows of water from differing roofs, the materiality and process of compression of stone, and the transformation of the use and function of water at the Chateau, beginning with its initial source as a spring. To represent aspects of this musically, I have the violist play only on its lowest string and have them play its entire length to attempt to mimic the extreme process of sand compression. Similarly, the violist uses circular bows (which also has a both a very “sandy” or “water glistening” sonic effect), and a circular nature of form to create parallels between the cyclical nature of erosion and stone formation. All of the electronic sounds also come from naturally occurring sounds—including pre-recorded viola, streams flowing, and saxophone multiphonics—which were granularized and processed in a number of ways to have the natural-to-manmade evolution that is seen in many elements of the Chateau and its own constant evolution. What emerges is an immersive soundscape that exists in a single world and follows a cyclical and round design.

of stone and spring was workshopped by Corley Friesen-Johnson at Les Ecoles d’Art Américaines de Fontainebleau in July 2023 and premiered by Sophie McMillan-Myers in April 2024.

of stone and spring - for solo viola and electronics

Performed by Longleash at Loretto (https://www.thelorettoproject.com/) in August 2024

Violin: Pala Garcia
Cello: John Popham
Piano: Alexa Stier

States of Intermeshing: xi.Épilogue

[live electronics from a live performance at Elebash Hall, CUNY]
pour Simon Kanzler

Electronics I: Simon Kanzler 
Electronics II: Corie Rose Soumah

States of Intermeshing: vi. come to fall

Jesus that name we love

Charlotte Mundy, soprano
Laura Cocks, flutes
Madison Greenstone, clarinets
Marina Kifferstein, violin
Ellery Trafford, percussion

[Program Note]
The inspiration comes from reading academic papers, grappling with their meaning, feeling a bit frustrated, and ultimately playing with the sound of words.

[Text]
"Composition puts together elements from the input spaces to create new entities in the blended space, yielding flowers that can gaze and empathize. Completion extends the image suggested by the original mapping, drawing on our background knowledge of the circumstances summoned by the CIN. For instance, we know that flowers deprived of nourishment will soon die; thus, the flowers that will be laid with the miller in his grave will almost certainly be dead flowers. Because these are anthropomorphic flowers, we can also imagine that the nourishment they require is not water (even in the form of bitter tears), but evidence of true love." (Lawrence Zbikowski, “The Blossoms of ‘Trockne Blumen,’” Music Analysis Vol. 18, no. 3 (1999): p.313.)

“Composition puts elements from the input spaces” (2025) for TAK Ensemble

Reflective Contours - for reed quintet (2025)

Reflective Contours responds to the relation of two primary materials in Norman Lewis’ painting, Street Musicians. In this painting, the central foreground consists of a collection of jagged shapes and calligraphic lines combining bright colors and dark shadings. Surrounding this exists a hazy framing, which consists of largely the same color palette but as greyed and blurred clouds. I am captivated by the collective and playful energy in the central material that seems to recede to the outer edges of the misty texture. In my experience of the painting, the tender framing quells the energy of the central activity with a gentle and reflective hue, while the central motion gives a buoyancy to the haziness. Thinking about the collective activity in everyday musicmaking, in Reflective Contours, I wanted to highlight the virtuosity of the quintet by creating a web of interweaving lines in both movements; sharp and angular in the first movement and resonant and tender in the second movement. These two characters inform the experience of the other, echoing on my experience of Lewis’ painting. Reflective Contours was written with admiration for the Akropolis Reed Quintet and the RED NOTE Music Festival.

Premiered in March 2025 by the Akropolis Reed Quintet at Illinois State University. 
Tim Gocklin, Oboe
Kari Landry, Clarinet
Matt Landry, Saxophone
Ryan Reynolds, Bassoon
Andrew Koeppe, Bass Clarinet

Reflective Contours - for reed quintet

Three Dreams for tenor, piano, and string quartet

Commissioned by Miguel Zazueta

Performed by Miguel Zazueta (tenor), Kyle Adam Blair (piano), and Quartet Nouveau (Batya MacAdam-Somer, Missy Lukin, violins; Annabelle Terbetski, viola; Elizabeth Brown, cello)

Conrad Prebys Concert Hall, UC San Diego, 05.22.25

I. The Dream Keeper (Langston Hughes)
II. Sueño Despierto (José Martí)
III. In Tall Grass (Carl Sandburg) / Primero Sueño (Sor Juana Inés de la Cruz)


The Dream Keeper - Langston Hughes

Bring me all of your dreams, 
You dreamers. 
Bring me all of your 
Heart melodies
That I may wrap them 
In a blue cloud-cloth
Away from the too rough fingers
Of the world. 


Sueño despierto - José Martí

Yo sueño con los ojos
Abiertos, y de día
Y noche siempre sueño.
Y sobre las espumas
Del ancho mar revuelto,
Y por entre las crespas
Arenas del desierto,
Y del león pujante,
Monarca de mi pecho,
Montado alegremente
Sobre el sumiso cuello,
Un niño que me llama
Flotando siempre veo.

 
In Tall Grass - Carl Sandburg

Bees and a honeycomb in the dried head of a horse in a pasture corner—a skull in the tall grass and a buzz and a buzz of the yellow honey-hunters.       

And I ask no better a winding sheet
                             (over the earth and under the sun.) 

Let the bees go honey-hunting with yellow blur of wings in the dome of my head, in the rumbling, singing arch of my skull.     

Let there be wings and yellow dust and the drone of dreams of honey—who loses and remembers?—who keeps and forgets? 

In a blue sheen of moon over the bones and under the hanging honeycomb the bees come home and the bees sleep.

 
from Primero Sueño - Sor Juana Inés de la Cruz

Piramidal, funesta de la tierra
nacida sombra, al cielo encaminaba
de vanos obeliscos punta altiva,
escalar pretendiendo las estrellas;
si bien sus luces bellas
esemptas siempre, siempre rutilantes,
la tenebrosa guerra
que con negros vapores le intimaba
la vaporosa sombra fugitiva
burlaban tan distantes,
que su atezado ceño
al superior convexo aún no llegaba
del orbe de la diosa
que tres veces hermosa
con tres hermosos rostros ser ostenta;

quedando sólo dueño
del aire que empañaba
con el aliento denso que exhalaba.

Y en la quietud contenta […]

Three Dreams, for tenor, piano, and string quartet

Paul Novak - a diagnosis (2024/25) for soprano, mezzo-soprano, and sextet
performed May 8th, 2025 by Mycelium New Music at Fulton Street Collective

Mycelium New Music
Justin Weiss, conductor/co-artistic director
Paul Novak, flutes/co-artistic director 
Michael Tran, clarinets
Dylan Feldpausch, violin
Isidora Nojkovic, cello
Jonathan Hannau, piano/keyboard
Rebecca McDaniel, percussion
with guest artists:
Kristina Bachrach, soprano
Emily Price, mezzo-soprano

"a diagnosis" is a catalog of bodily aches, a list of symptoms which grows strange and resonant. It will eventually be the opening piece in my in-progress song cycle when i was nine i couldn’t walk, which draws from my recollections of a childhood diagnosis with a psychosomatic illness. a diagnosis focuses on the body and the things it unknowingly stores: memory, trauma, ache, desire. The text is adapted from my poem “a diagnosis.”
Paul Novak

Art: Max Ernst, "the Triumph of Surrealism"


a diagnosis (2024/25) for voices and sextet

This composition’s title is derived from a work by the 20th century Catalan visual artist Joan Miró. The piece captures the experience of looking at the strikingly beautiful painting for the first time and gradually taking it all in in: first, as an incredibly rich and colorful composite, then honing in on specific shapes.

Benjamin T. Martin: Ladders Cross the Blue Sky in a Wheel of Fire

Justin Weiss is a composer and conductor whose music explores relationships between the visual arts and music through the intersection of lyricism, liminality, fragility, and textural play. Justin’s music has been recognized with a Charles Ives Scholarship from the American Academy of Arts and Letters, the Prix Langage Musical from Les Écoles d’Art Américaines de Fontainebleau, the Walter E. Aschaffenburg, and awards and recognitions from institutions such as ASCAP, Society of Composers, Inc., and The American Prize, Tribeca New Music, and YoungArts. 

Justin’s music has been performed internationally by ensembles including Quatuor Diotima, the Cleveland Chamber Symphony, the Civic Orchestra of Chicago, the Grossman Ensemble, TAK Ensemble, Ekmeles Vocal Ensemble, Sandbox Percussion Quartet, and ~Nois Saxophone Quartet. Justin is the conductor of the University of Chicago New Music Ensemble, a co-founder and conductor of the new ensemble, Mycelium New Music, and has premiered dozens of pieces internationally. Justin studied at Oberlin Conservatory of Music, the Royal Academy of Music in London, and is a PhD Fellow at the University of Chicago where he studies with Augusta Read Thomas.

of stone and spring - for solo viola and electronics

Justin Weiss - Composer

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