Essay for Voices (2014) Written for Quince Contemporary Vocal Ensemble: Amanda DeBoer Bartlett, Elizabeth Pearse, Kayleigh Butcher, and Carrie Henneman Shaw. 

This recording is from a performance at UNK on February 28, 2015

Anthony Donofrio- Essay For Voices

Alyssa Weinberg, Contemplations (2013), performed at the Lake Champlain Chamber Music Festival on August 25, 2013, by Ricardo Morales, clarinet, Phillip Setzer, violin, and Shai Wosner, piano.
Audio Engineer: Alan Bise
Funded in part by New Music USA and the Vermont Community Foundation.

Alyssa Weinberg, Contemplations (2013)

Written for and performed by Bent Frequency at the Charlotte New Music Festival, June 2016. Jan Baker, alto saxophone; Stuart Gerber, percussion.

The Common Thread
i. spathiphyllum
ii. aloe vera
iii. solanum lycopersinum
iv. chlorophytum cosmosum
v. crassula ovata

This piece is about my house plants. I love them very much.
"chlorophytum cosmosum" is based on the song "One Day" by Roy MacNeil. 

The Common Thread (2016)

Design, a poem by A.R. Ammons, explores the life cycle of a single droplet of water on its journey from conception to evaporation. In a single sentence, the poem captures both the complexity of the droplet’s circumstances and the essence of its simplicity. In this piece, I strive to echo this dichotomy through the emphasis of a single pitch. This pitch, materializing from and vaporizing into noise, encounters similar intricacies, evolving from one timbre to the next, but always remaining itself in substance.

Design

The drop seeps whole 
from boulder-lichen 
or ledge moss and drops, 

joining, to trickle, 
run, fall, dash, 
sprawl in held deeps, 

to rush shallows, spill 
thin through heights, 
but then, edging, 

to eddy aside, nothing 
of all but nothing's 
curl of motion spent.

– A.R. Ammons

Instrumentation: Soprano, Flute, Viola, Piano
Duration: 5:40

Many thanks to Kerry Holahan, Margaret Lancaster, Stephanie Titus, John Pickford Richards, and all of those involved at New Music on the Point 2016 for all their hard work in putting together and premiering Design.

Design (2016)

Inspired by the first chapter of "A Field Guide to Getting Lost," by Rebecca Solnit, this piece explores the idea of discovering the unknown.  Solnit says: "It is the job of artists to open doors and invite in prophesies, the unknown, the unfamiliar; it's where their work comes from, although its arrival signals the beginning of the long disciplined process of making it their own." (A Field Guide to Getting Lost, page 5)

Instrumentation: Flute, Oboe, Live Electronics
Duration: 6:40

Premiered at SPLICE 2016 by flutist Anne Daley and oboist Wendy Raines-Grew on July 2, 2016.

ajar (2016)

String Quartet reading/workshop recording with The Rhythm Method http://www.therhythmmethod.nyc/

I have recently taken an interest in creating literal, proportional, translations of visual art into musical mediums. For Don’t Just Sit There and Pretend Everything’s Fine, I was interested in mathematical and rhythmic proportions found in the linear styles of the High Renaissance, in particular, Raphael’s Ansidei Madonna. Although this piece is not about the painting, I looked back to the church music of the same period as a referential similarity to the visual style. Additionally, I found the time-ridden decay of these near-ancient arts an interesting element in their structures (although these were never intended). To reconcile these ideas, I initially began this piece by writing my own chant-style music using modern set collections then stripped them down to their component parts and pushed them into the background as faded tapestries.

Don't Just Sit There and Pretend Everything's Fine

This piece was written for a friend of mine, for his senior recital which was 6 years in the making. I was inspired by his other major -- computer programming.

Exe2bin (2016)

This piece was written as part of a speedwriting event challenge. I had 24 hours to write it, and the performer was given 24 hours to learn it. I am very happy with the result, and very thankful to the performer, Soren Hamm on soprano saxophone.

Imaginary Canary for Soprano Saxophone (2017)

intangible landscapes (2019-2020)
for flute, bass clarinet, violin & piano

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premiered by apply triangle + me at the 2020 pulsing & shaking macro festival held at frederick loewe theatre in nyc.

lil bit of mixing by me~

yoshi weinberg, flute
tyler neidermeyer, bass clarinet
yaz lancaster, violin
jixue yang, piano

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program notes:

intangible landscapes deals with the growing feelings of ennui & isolation i encounter[ed] living in nyc for the past 6 years, & how perceived landscapes of memory shift, breathe & transform over periods of time. many people i love no longer live here. is 'home' a real place? or does it exist in the quiet intimacy of remembering/experiences & ephemerality?

----
artwork by will farris

intangible landscapes

commissioned by and written for Collective LoveMusic as part of their "Premieres in Private Places" series.

for video, tape, and flexible ensemble

for visual see this video:
https://www.youtube.com/watch?v=gVfJaQL5ohw&ab_channel=KelleySheehan


program notes:
What are brainzaps? You might also hear them referred to as “brain shocks,” “brain flips,” or “brain shivers.” Often described as feeling like brief electric jolts to the head that sometimes radiate to other body parts. Others describe it as feeling like the brain is briefly shivering. Not a painful sensation but certainly a jolt to the system. ​

BrainZaps (2020) for flexible ensemble, tape, and video

Composer and soprano based in Northeast Vermont.

The Common Thread (2016)

Mavis MacNeil