"Elegy" (movement II) from Sonata for Alto Saxophone and Piano. Lawrence Gwozdz, alto Saxophone; Lois Leventhal, piano. This post dedicated to saxophonist/composers Alan Theisen and Everette Minchew, who were so generous of their time and expertise in assisting this old guy in getting started with social media. Many thanks!

Sonata For Alto Sax & Piano, movement  II

Saikat Karmakar, violin
Sahada Buckley, violin
Chris Williams, viola
Alina Vazquez, cello

Differences arise at local levels in the form of clashing rhythmic and pitch material, often highlighted with contrasting tone colors. On a larger scale, entire sections of music present themselves in contrasting styles, each with their own particular frictions. Stylistic traits from each section make appearances in other sections, often for the worse with resolutions to these disputes being either questionable, outright avoided, or leading towards other conflicts. With "Irreconcilable Differences", I seek to tell the story of a troubled relationship and its ramifications. This work was a long due outpouring of emotion for me, and I hope that it provides an outlet of expression and release for those who have found themselves impacted by such a situation.

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Studio Recording, October 2014

Premiered on October 15, 2014 by Saikat Karmakar, Sahada Buckley, Chris Williams, and Alina Vazquez at the Dancz Center for New Music at the University of Georgia.


Irreconcilable Differences

Peabody Symphony Orchestra, Teri Murai, cond. 2002.

Convergence

random stuff

La Melodia Dulce

String Quartet No.4

String Quartet No.4, Movement I

Song cycle 

Alto - Amanda Segur
Piano - Allyson McIntyre

Performed at the Hugh Hodgson School of Music Dancz Center for New Music

Four Poems of Sara Teasdale - 1. Let it Be Forgotten

Four Poems of Sara Teasdale - 2. I Shall Not Care

Four Poems of Sara Teasdale - 3. Buried Love

Four Poems of Sara Teasdale - 4. Gifts

BossaRica
Raul Gomez, violin; Marcelo Vieira, cello; Ronaldo Cadeu, guitar
(c)2012

Andalucia

Adam Smith, oboe
Robert Hjelmstad, piano

Commissioned by Adam Smith

In this sonata, the interval of a minor second is the most important building block, and pairs of them are often separated by a fourth or fifth.  Dizzying chromatic runs from the oboe are contrasted against persistent driving rhythms and scattered fragments from the piano all before giving way to a relaxed second theme.  During the development, motives are experimented upon and take turns in the spotlight in front a eerie backdrop.  A chaotic retransition foreshadows the changes that are coming to the recapitulation, in which the parts and functions of the form seemingly get confused as to where they should be and what they should be doing.  Attempts to fix the problems result in familiar motives going haywire.

Recording from the premier at the Dancz Center for New Music, Hugh Hodgson School of Music, University of Georgia on March 28th, 2013.

Sonata for Oboe and Piano

Emotional, gentle, and occasionally disturbed. Matthew's music endeavors to make the inexplicable understood, or at least accepted. Classically trained, and academically educated, Matthew uses music to attempt to link the conceptual, intellectual, and abstract with the emotional, inspirational, and spiritual. Check back here for dates of live performances, recordings, hints, the meaning of life, and other things happening in the world of MsP's music.

String Quartet No.4, Movement I

Matthew Scott Phillips

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