Matthew Welch

Terra Incognita (String Quartet No. 3) 2018-2023
I. Fossil Formations - 76 bpm (30 min.)
II. Observing Organisms - 88 bpm (20 min)

Terra Incognita is my monolithic treatise in harmony, counterpoint and structure. It was slowly composed over the course of five years. The contrapuntal lines of Observing Organisms grow directly out of the harmonies in Fossil Formations. The note spellings are conceived as integral to the investigation of voice leading and harmonic possibility. To aid the comprehensibility of this harmony, a score of Fossil Formations with a keyboard and “continuo” style harmonic analysis has been included. In its original conception, this music was written as my third string quartet, and fashioned into two movements that are respectively slow and fast. However, Terra Incognita’s formal structure and texture allow it to function as an open score, as well. It can be performed by string orchestra, chorus, band, or any ensemble that can cover the parts. Solo polyphonic instruments, like organ or piano, may perform from the keyboard part from the version of Fossil Formations with the “continuo” style harmonic analysis, either in concert with an ensemble, or alone. To accommodate multiple performance contexts, the repeated phrases may be played more than twice to elongate the work, or eliminated entirely to present a shorter, 25 minute work. Rather than providing numerous detailed performance directions, I believe the movement titles are sufficient for the imagination. Observing Organisms ossia: unmanageable double-stops may be substituted with a pattern of alternating 1/8th notes, derived from the double-stop, starting on the lower of the note pair.

Terra Incognita is dedicated to my son Mason Reid Welch-Lueck.

TERRA INCOGNITA (String Quartet No. 3) II. Observing Organisms (with SYNTHs)

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

TERRA INCOGNITA (String Quartet No. 3) II. Observing Organisms (with SYNTHs)

Matthew Welch

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