Name: Point/Release by Max Vinetz in Orchestral + Large Ensemble Works
Duration: 3 min 56 s
Description: "Point/Release" (2017); read by DeCoda and New York Symphony @ DiMenna Center for Classical Music on March 11, 2017.

Orchestral + Large Ensemble Works

performed by the Eastman Graduate Composers' Sinfonietta. Conducted by Maurice Cohn.

Machine Turn Quickly, for 17 instruments

"song of spring," for trumpet and sinfonietta, featuring Evan Honse (trumpet) and Contemporaneous.

Audio by Stuart Breczinski

song of spring

Written for the Royal Danish Academy of Music's "Accordion Festival - The New World" (2021), performed by Arcangelo Pignatelli

Our breaths are what keep us alive. They take from the air around us and give back. Usually the phrase “catch my breath” refers to our own selves taking a pause, defined as “to wait and rest for a moment when you have been very active, so that you can begin to breathe more slowly” (Cambridge Dictionary). The saying “hold my breath” literally means stop breathing briefly, and figuratively means waiting on the edge of one’s seat for something, as in “I won’t hold my breath.”  But imagine if a breath could be caught and held in your hands…if it was something material, instead of being one with the air. Saying it to someone as opposed to applying it to yourself. Who would you say this to? What would this sensation feel like? How is it let go?

I connect breathing with time; both invisible, intangible yet inescapable, coming and going every moment. This piece is as an expression of breathing patterns, thinking about certain memories based on a graphic provided for the performer involving at times blurry dualities between still vs. moving, spoken vs. wordless, broken vs. healing, forgotten vs. relived, wrong vs. right, deafening vs. nothing, distant vs. suffocating, absent vs. present. The performer inhales and exhales the sound into the audience, with them, as if pushing them away and pulling them back in. But there is also another "audience": people in the performer's memories (especially if playing alone), and the sound qualities that memory would have...the nature of the breath in that memory. Connecting the physical and psychological, the accordion is the brain constantly sponging and absorbing life, with all the ever-oscillating neurological activity molding the mind ranging from emotions to logic. It’s about both the physicality of the body and accordion as well as the mentality fueling it. 

Physical breakage and repair are a definitive present moment that turns to past, dictated by real time. Mental breakage and repair, however, are ethereally connected between past and present, cycling back and forth more ambiguously in slow or fast motion, governed by our singular minds’ idiosyncratic perceptions; the eyes and ears through which we see, hear and process the world.

In this piece, there is always a common note bridging the left and right hands, either vertically or horizontally, in harmony or melody, representing this thread between two energies, passing breaths between each other. Often, the chord clusters grow bigger and add to what’s already there, carrying the past to the present to the future, constantly re-contextualizing the accumulation of emotional energy and memories, and playing with all the possible frameworks that could color a chord or note. In theory, to catch one’s breath, one has to meet halfway and pass it. The left and right hands become more than just functional components of the body; they are two living breathing bodies trying to connect with each other. They actively maintain their joint balance amidst sonic fragility that creates a kind of illusion of physical fragility, as if there is a possibility of suddenly falling through a floor, or beneath a high-wire, at any moment.

Cover art: Annie Nikunen

Catch My Breath And Hold It

"Lilac and Orange over Ivory" for orchestra, winner of the 2020 Paul and Christiane Cooper Prize

premiered by the Shepherd School Symphony Orchestra, conducted by Larry Rachleff

Lilac and Orange over Ivory

Yarn/Wire
New Music Brandeis - March 2022

Russell Greenberg, Sae Hashimoto, percussion
Laura Barger, Julia Den Boer, piano

Thank you, James Praznik, recording engineer

memory-palace: Quilts for San Francisco (2022)

"Sea Poppies", premiered by Yale Undergraduate Chamber Orchestra, directed by Ian Niederhoffer (cond.)

"Sea Poppies," by H.D.

Amber husk
fluted with gold,
fruit on the sand
marked with a rich grain,

treasure
spilled near the shrub-pines
to bleach on the boulders:

your stalk has caught root
among wet pebbles
and drift flung by the sea
and grated shells
and split conch-shells.

Beautiful, wide-spread,
fire upon leaf,
what meadow yields
so fragrant a leaf
as your bright leaf?

Sea Poppies (2017)

for percussion and fixed media.

I. Chroma
II. Value
III. Hue

performed by Joanne Chiang.
premiered in Duke's Hall, Royal Academy of Music in May 2022.

artwork: Sol LeWitt - Composite Series, Plate #01 (1971)

Three Studies

Performed by Eighth Blackbird and the U.S. Navy Band, Capt. Kenneth Collins, conductor.

Full performance video here: https://www.youtube.com/watch?v=kHMabYCLKrI

Eighth Blackbird + US Navy Band, Kenneth Collins, conductor

Vital Sines

April 11, 2023
Eclipses
electronic fixed media (stereo)

Eclipses

"A brief investigation on distilled melancholias, nostalgias & summer brightness 
or 
the land of belonging placed at the liminal verge of shattering identities."

Premiered by Ekmeles (ekmeles.com/) at the DiMenna Center for Classical Music.

Special thanks to Evan Caplinger for creating the best laugh I’ve had in years and lending your ears multiple time throughout this project. Additional thanks to Marcos Balter, Maximillian Coburn & Zosha Di Castri for providing me with incredibly useful advice for this piece.

Voice I : Charlotte Mundy
 Voice II : Elisa Sutherland
 Voice III : Timothy Parsons 
Voice IV : Gregório Taniguchi 
Voice V : Jeffrey Gavett
 Voice VI : Steven Hrycelak

like a frog on the road to it

Commissioned by the U.S. Navy Band for Jonathan Yanik

Completed Oct. 17, 2023
Premiered at the International Saxophone Symposium on January 12, 2024 at George Mason University

As a child, I used to obsessively rewatch my favorite movies. Seeing the same sequences over and over, I would begin to notice little mistakes across cuts - misplaced items, inexplicable outfit changes, loose strands of hair - and I started to wonder how actors managed to keep their characters consistent if they could barely maintain their physical appearances. I soon realized that many actors, quite simply, did not. 

Continuity Errors, true to its name, celebrates the unexpected surrealism of inconsistency. The piece is filled with sudden, frenetic shifts in tone, register, and key, with these drop-of-a-dime changes kicked off by the clapboard-like ‘crack!’ of a whip. The solo saxophone is the star of the show, eager to shine but occasionally out of step with the whip’s cues. The music frequently invokes the stylings of grand, cinematic soundscapes, even as the soloist obsessively brings the music back toward a more mischievous, off-kilter dance. As the piece builds towards its relentless climax, it cycles again and again through the soloist’s dance, as though trying to rehearse it again and again. The piece ends explosively with a series of wild jump cuts, culminating in a final exhausted smack of the whip. 

Many thanks to Jonathan Yanik and the amazing musicians of the U.S. Navy Band for realizing this piece.

Large Ensemble

Continuity Errors, for alto saxophone and wind ensemble

for solo cello & tinfoil speaker sculpture

performed by Nick Photinos October 10, 2023 at Taplin Auditorium, Princeton University

CRINKLE CUDDLE CRUMPLE CRUNCH

Performed by City of Birmingham Symphony Orchestra in January 2023, conducted by Clark Rundell.

programme note:

egress – to go out of or leave a place. A strategy of exit.

Writing music often feels like an exercise in learning how to escape a trap I’ve set for myself, like creating a little world with certain rules that have to be broken in order to progress. Sometimes I imagine that it’s not me doing this but the music itself, like an autonomous AI thing scanning random bits of music in real time, trying to understand itself. As if programmed by a machine, the orchestra starts and stops, switches material, gets things wrong, tries them again – always manically searching for some kind of logical thread, a way forward and out, an egress.

Egress

"Point/Release" (2017); read by DeCoda and New York Symphony @ DiMenna Center for Classical Music on March 11, 2017.

Point/Release

"when the days begin to fade away" is a 5-movement concerto for violin and chamber orchestra, featuring Emily Switzer (violin), Ian Niederhoffer (cond.), and the Yale Undergraduate Chamber Orchestra.

when the days begin to fade away

premiered 4/16 at Duncan Recital Hall - Houston, TX
conductor: Molly Turner
piano: Wesley Ducote

flute: Megan Torti
clarinet/bass clarinet: Justin Best
oboe: Julia Simpson
bassoon/contrabassoon: Kipras Mazeika
horn: David Tarté
trumpet: Ansel Norris
trombone: Caleb Knight
percussion: Erin Graham, Brandon Lim
violins: Francesca Bass, Likai He
viola: Sebastian Stefanović
cello: Jaeyoung Chong
bass: Jesse Fischer

Piano Concerto

Composer, bassist, improviser
Based in Princeton, NJ

contact: maxvinetz@gmail.com

https://www.youtube.com/watch?v=t8SCUUMzUDA&ab_channel=ScoreFollower
https://www.youtube.com/watch?v=MDhK67Gsq-I
https://www.maxvinetz.com/

Point/Release

Max Vinetz

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