I grew up on a dead-end street. I failed to understand the metaphor.

backstory 2

backstory 2 [version 1 - pianos - to be played softly]

backstory 2 [version 2 - pianos - to be played softly]

backstory 2 [version 3 - pianos - to be played softly]

I grew up on a dead-end street. I failed to understand the metaphor.

Versions 4.1 and 4.2 differ only in pedaling.

backstory 2 [version 4.1 - pianos - to be played softly]

backstory 2 [version 4.2 - pianos - to be played softly]

A track from the forthcoming CD "station" — a collection of noise, dark ambient, and experimental works evoking the anxiety of uncertain times. Part memory, part post-apocalyptic fantasy, this set of ten pieces extends a growing catalog of introspective, meditative, and reflective sound art.

This track blends my soundart world with the world of my quiet music (chamber music with electronics).

Releases 22 Juy 2025

09  his last song was a sad one

During my recent visit to London I had the wonderful opportunity to participate in a soundbath created by Emma at Nada Healing at the Berntson Bhattacharjee Gallery.  Thee paintings by William Farr caught my eye as a kind of kindred spirit.
This short work is a kind of rehearing of Emma's beautiful Zephir chimes.

Emma

"Now that everything is easy, there is so much to do." — Morton Feldman

Making art is not just self-expression for me — it’s self-discovery. Each work holds a trace of my heart and mind, poured out with more or less success, like every artist I’ve taught or known.

Decades of teaching art and music have shown me the raw dreams of thousands of emerging artists — always vulnerable, always anxious. I recognize that same anxiety in myself now, as I turn again to my own truth.

My work is a way to sit with that unease. To meditate. To reflect. To empty my mind and listen. I don’t find answers there — only myself.

sofar

anotheer track from my "music for headphones" project - this title is only a placeholder as I continue to explore what this project is about.   Thanks for listening and leaving feedback.

incongruous spaces

Something is afoot - there is a turn in my soundworld (even if temporary).   I am becoming more and more attuned to the use of digital noise, field recordings, and scanners - all in the context of memory (both human and digital) - the fallibility of it all and the tense landscape in which I find myself.

Thank you for listening and leaving feedback - encouragement or not - it's all valuable to me.

a flood of obscure memories

Ambient?   Noise?  Soundscape?   I don't really know any more - categories are no longer fitting what I am hearing and sharing here.   This one spreads across different genres, but still evokes a compelling listening experience.   This one might have to do with the fact that I am just back from Berlin, where, for the first time in decades, I went to bed after the sun came up.

a slow turning

a slow moving choral and orchestral lament is covered by an electronic debris.   Not ambient, not noise, but completely me.

to never see you again

Smeared Hexachords, composed for Jay Crone, who performs the work here.

Smeared Hexachords

My first String Trio, composed for a Tenth Intervention concert at Spectrum, NYC

Performed by:

Hajnal Pivnick, violin
Sam Kelder, viola
Alexandra Jones, cello

String Trio no. 1

positry
1.  the act of trying to posit
2. the act of positing
3. the art of positing
4. there is no such word

backstory 2 [version 4.2 - pianos - to be played softly]

positry

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