Collide-O-Scope Music performing Mikel Kuehn's "Fünf Parabeln" live in New York City, at the National Opera Center. April 10, 2022. 
Deborah Norin-Kuehn, soprano
Laura Cocks, flute
Marianne Gythfeldt, clarinet
Emilie-Ann Gendron, violin
John Popham, cello
Augustus Arnone, piano
Robert Whalen, conductor

Mikel Kuehn: Fünf Parabeln

For soprano and fixed media.  Recorded 11/15/21..
For more information visit mikelkuehn.com

Mikel Kuehn: Thirteen Ways of Looking at a Blackbird

March 22, 1999 8pm - Bowling Green State University New Music Ensemble, Bowling Green State University, Kobacker Hall, Bowling Green, Ohio.
Deborah-Norin Kuehn, soprano
Judith Bentley, flutes
Kevin Schempf, clarinets
Movses Pogossian, violin
Daman Coleman, cello
Robert Satterlee, piano
Mikel Kuehn, conductor

Schoenberg, Pierrot Lunaire: 21. O Alter Duft

Schoenberg, Pierrot Lunaire: 20 Heimfahrt (Barcarole)

Schoenberg, Pierrot Lunaire: 19. Serenade

Pointillism for sampled human voice

In 1987 I saw Bert Turetzky perform Kenneth Gaburo’s ‘INSIDE’ and Tom Johnson’s ‘FAILING’ at a contemporary music festival.  I remember hoping at the time that I would one day get the opportunity to write for Bert.  I also remember being impressed not only with his bass playing but also with his ability to control the bass and his voice at the same time.  When he asked me, some years later, to compose him a piece, I decided to incorporate vocal sounds into the fabric of the piece, though in a rather different way from the two pieces I had heard.  As a result, TNT (Tureztky ‘N’ Tape) uses both vocal and bass sounds to make the tape part, and calls upon the performer to use both instrument and voice simultaneously, with extensive and intricate interaction between soloist and tape, especially in the rhythmic “groove” sections.  In these, soloist and tape participate in the formation of, or improvisation over multi-layered grooves that might be at home in a jazz or latin sound.   The tape part was constructed entirely of bass and vocal sounds, collected, edited, and mixed using Csound software on a NextStation computer.  It was performed by Bert Turetzky as a work-in-progress in 1997, then revised, remixed, and completed for premiere performance by bassist Robert Black in Estonia in 2001, with a recording on the CDCM series.

TNT for contrabass and fixed media

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Unlocking the Keys (2021) is a fixed media Ambisonic work that explores three dimensional sonic space. The title serves as a metaphor for searching out (i.e., “unlocking”) the potential of sounds created from recorded piano sources, which start out abstract in nature and fully reveal themselves in the middle of the piece.  While the ideal listening experience for this piece is a periphonic sound system (a three dimensional configuration of speakers such as “dome” or 8-channel “cube”), the version provided here (stereo) preserves all of the musical material, mapping it down organically to a two dimensional listening space.

Unlocking the Keys (2021, Ambisonic electroacoustic)

I have long admired the poetry of Robert Gregory, having set one of his poems for voice and fixed media and having been captivated by his work on many occasions. His poetry has provided inspiration for my own work, finding its way into not only my work titles but also into the conceptual foundation of a number of my compositions. When I heard that he had passed away, I spent some time reviewing his work and revisited a recording I had made of Bob reading several of his poems in the early 1990s when we both lived in Miami, Florida. One of the three works I had recorded, and sometimes wind from the south, provided an ideal poem for me to set in memoriam. This text-sound composition is based on Bob's inimitable voice and strives to capture some of his fanciful imagination and lively spirit.