My second String Quartet in one movement traces an extremely stretched snippet of the Requiem plainchant and builds new worlds out of an abstract chorale constructed around the buried cantus. Little lives pop up and die unexpectedly. such is life. A melodic sensibility is inspired by the Highland Bagpipe Piobaireachd "Cumha Na Marbh" (The Lament for the Dead), and textures inspired by piping, gamelan, early polyphony, Ligeti ad Bartok.

02 Cumha Na Marbh - Requiem Aeternam Dona Eis (String Quartet No. 2, Kubrik Quartet)

Recorded 27 June 2014 at Norfolk Yale Chamber Music Festival. Performed by David Perry (clarinet/bass clarinet), Solomon Silber (electric guitar), Jeff Stern (percussion), Miki Sawada (piano), Ilana Waniuk (violin), Samuel Suggs (double bass). Conducted by Julian Pellicano.

Stolen (2014 version)

MIDDLEGROUND: the space grounded, the between, the center. The Heartland. The prairie, the grasslands, Konza, Flint Hills, Manhattan, Emporia, Salina. Where we gathered.

Home of the heart, heart of the home.

The years spent in cars, daydreaming, scooping handfuls of wheat, racing out into amber fields, cycling together, water wheel ice cream, fireworks and apples. The stories shared, books read sprawled in the yard, family prayers over anything, late evening walks, quiet nights. Open arms, open hearts, humble and extraordinary. 

Together, with our wonder, our joy, we created an incredible painting with abounding colors. The kinds of colors that linger in the minds eye long after they are out of sight and cradle you long after goodbyes are spoken and car doors closed. The kinds that find you counting the days until the next birthday, the next holiday, the next bike ride, the next Camp, the next anything just so you can see them again. When you close your eyes you feel their warmth. They stay.

The middle ground: my refuge born from the land living in my heart. Where my home is, living and breathing outside of my body, thousands of miles apart. This hallowed ground.




World premiere by the JACK Quartet in New York City, 2016.  

MIDDLEGROUND

Big thanks to G.F. Handel for letting me put out this remix!

Carefully Handeling The Pipes

On December 2, 2018, The Kennedy Center held its 41st annual national celebration of the arts — The Kennedy Center Honors. Celebrated composer Philip Glass was one of the honorees. 

In honor of Philip Glass’ recognition by The Kennedy Center and the broadcast of the awards last week (December 26), this "From the Vault" episode features LA Opera's Artist-in-Residence Matthew Aucoin in conversation with Glass prior to the November 17, 2016 performance of his opera “Akhnaten”, which was conducted by Aucoin.

From the Vaults: Composer Philip Glass with LA Opera Artist in Residence Matthew Aucoin

"Most Ghost Trance Music performances begin with the entire ensemble in unison at the opening of the work. What happens afterwards, however, differs widely depending on the piece, the make up of the ensemble, and the ever changing performance practices. At designated points of the line, often in looped sections, one may decide to switch to an improvisation, play a secondary / tertiary piece, or play the melody at a different tempo. There are no fixed rules pertaining to when this happens or for how long, and it may also be done individually or in groups.

Composition n. 247 is one of the few Ghost Trance Music works tailored for a specific instrumentation: two saxophones and bagpipes (Anthony Braxton, James Fei, and Matthew Welch). It's been recorded live, and the striking quality of this recording will be evident immediately upon first hearing. "The music on this disc is unlike anything I have participated in, in terms of mental and physical endurance, mobility between different sets of material, and sheer sonic intensity." 

- James Fei, NYC, December 2000.

LR306 - Anthony Braxton Composition N.247 [sample]

Voices: Ann Heppermann and Jason Cady
Words, Music, Modular Synth: Jason Cady