Performed by the Bozeman Symphony, conducted by Norman Huynh

Learn more at http://scottleemusic.net

The Fire Beneath

A collection of my recordings of many of my favorite easy listening rock tunes from the 60's and 70's.

Dream A Little Dream of Me - Elizabeth on Vocals

Longleash Trio @ Time:Spans 2024
(Pala Garcia, vln; John Popham, vc, Alexa Stier, pno)

different gravities IV. Brisk, bells clanging

different gravities I. Agile, crisp

Quiet & Immense
Performance Recording from 11-9-24 at Boston Court, Pasadena CA
Double Bass: Chris Castro
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Quiet & Immense is inspired by the artist Mark Rothko and written for my dear pal Chris Castro. My impressions of his work center around my memories of being next to it, the vast canvases against the intensely quiet space, the startlingly unknown against the fearfully familiar. The paintings exude a sadness that seems to me older, more hushed, and spread thinner and broader than the sadness of a single person. The same emotional space drives Quiet & Immense, softly shifting between different shades of melancholy.

Mozart and Feldman were always in my ear while writing Q&I. Mozart was Rothko's favorite composer and Rothko was one of Feldman's favorite painters. Both composers explored an austerity similar to Rothko's, which I value as well. Equally important for me is La Monte Young's The Well-Tuned Piano, which inspired the use of the just-tuned harmonic seventh, an interval that for me elicits the same quiet and immense feelings of collective sadness and muted calm as Rothko's paintings.

Quiet & Immense

performed by the Tanglewood Music Center Fellows
at Seiji Ozawa Hall in Lenox, MA
14 July 2019

Nathan Aspinall - Conductor

Johanna Gruskin - Flute
Matthew Griffith - Bass Clarinet
Julianne Mulvey - Basson/Contrabassoon
Esteban Garcia - Horn
Ole Heiland - Tuba
Jonathon Wisner, David Riccobono - Percussion
Shelley Ng - Piano
Evan Bish - Double Bass

asestarse (2018, rev. 2019) | for 9 players

ONE FOOT IN THE DARK for Viola, Cello, Piano Trio

Live Performance on August 4, 2019
Seiji Ozawa Hall, Tanglewood Music Center

Performed by:
Sam Pederson, Viola
Sonia Mantell, Cello
Christine Wu, Piano

© 2019 Harriet Steinke

2019-08-04 1000AM SUN CD1

One Foot in the Dark (for viola, cello and piano) / Live at Tanglewood Music Center

Performed by Elise Kuder, Anna Takeda, Mike Kelley, and Rupert Anthony Thompson

String Quartet

Orchestra: 2.2.2.2. 4.2.3.1. timp. 2 perc. hp. strings (2012)
Boston Conservatory Composers' Orchestra

Terraforming is the concept of modifying a planet or moon’s atmosphere, topography, and temperature in order to create a biosphere similar to that of Earth and thus make it habitable by humans.  The idea is rooted more in science fiction than actual science, and was first coined by the sci-fi author Jack Williamson in his story Collision Orbit, published in 1942.  Since then, terraforming has become a popular idea sensationalized in films, astronomical journals, and the media.
	My work "Terraforming" applies this concept to an orchestral sound world.  The first movement, Tecton, is representative of the first step of the terraforming process, namely the reshaping of the world’s topography.  Erosia, the second movement, deals with interjecting a new atmosphere into this reshaped sphere that erodes and softens its harsh features.  Intrusion, named after the geological process whereby molten rock is forced into existing rock formations, features a simple harmonic process that represents the final geomorphic changes to the new biosphere.  The last movement, Consolidation, synthesizes the disparate elements of the previous three pieces into the final product of the terraforming process, a chaotic but lush new sound world.

Terraforming

for clarinet trio
B-flat Clarinet: Amy Advocat
Violin: Lilit Hartunian
Piano: John McDonald

Terraforming

Sid Richardson

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