Time Slips Away

Premiere performance: Midwest Double Reed Society, November 7, 2021
Celeste Johnson, Oboe; Margaret Marco, Oboe d’amore; Erin Huneke, English Horn.

Movement Titles:
I. The Brain is wider than the Sky
II. The Brain is deeper than the Sea
III. The Brain is just the weight of God

Program Notes: 
Emily Dickinson’s meditation on the power of human imagination is the inspiration for my oboe trio “Wider than the Sky.” In her poem, she takes an abstract concept and renders it into something tangible and visible for the reader, allowing us all to celebrate the power of human consciousness. The first two stanzas focus on the relationship between the mind and the outer world. The sky and the sea are enormous creations, and yet the mind can conceive and contain them as ideas. Much has been written about the third stanza and especially the meaning of the last line of this poem. For me, as sound is such an important part of my life, I believe she means that humans give meaning to sound and therefore give voice to creation. I am grateful to Celeste Johnson for commissioning this trio and giving voice to my imagination. Creation of this work was supported with funding from The Curators of the University of Missouri on behalf of the University of Missouri-Kansas City, where Celeste Johnson is a faculty member.

Wider than the Sky

The Brain—is wider than the Sky—
For—put them side by side—
The one the other will contain
With ease—and you—beside—

The Brain is deeper than the sea—
For—hold them—Blue to Blue—
The one the other will absorb—
As sponges—Buckets—do—

The Brain is just the weight of God—
For—Heft them—Pound for Pound—
And they will differ—if they do—
As Syllable from Sound—

Emily Dickinson, c. 1862

Wider Than The Sky (2020) for Oboe, Oboe d'amore and English Horn

Premiered at the University of Delaware Composition Recital on April 17, 2014. Recorded by John Palmer. Avatar image courtesy of John Palmer.

Katharine Lockwood, oboe
Shari Paltrowitz, bassoon
Gabriella Stout, violin
Alison Treglia, viola
Elianna Wydra, cello
Michael Stambaugh, piano

"'The Night Lake' was inspired by a dream that a friend of mine recalled to me. In this dream, they were standing at the shore of a huge lake, surrounded by a forest of pine trees. It was nighttime and the sky was filled with millions of stars that were reflected in the water. The entire dream felt very still and tranquil, until the dreamer walked up to the edge of the lake, looked at their reflection in the water, and saw a completely different person; and in that horrifying moment they realized that they had lost all sense of identity and didn't know what person they were anymore.
 
This piece attempts to recreate the atmosphere of that dream by contrasting three different emotions: tranquility, unrest, and melancholy. A simple melody played in the upper register of the piano is echoed by the oboe and soon after is twisted into something harsher and more chaotic. The middle section and climax of the piece expresses the dreamer's terrible realization and subsequent grief for a part of them that no longer exists. Finally, the piece ends with a restatement of the tranquil themes of the lake, but this time there is more unrest beneath the surface, and the dreamer wakes up with the feeling that something is not quite right..."

The Night Lake: Sextet for woodwinds, strings, and piano (2013)

This string quartet piece (violin 1, 2 (Claudio Micheletti, Karen Micheletti) viola (Anderson Vargas ), and cello (Vana Bock) was premiered by Quarteto L'Arianna during the 2024 São Paulo Contemporary Composers Festival.

Photo credit to Monica Fuss

A Clock That Talks In Ticks

Orthrus for two bass clarinets - Duo Stump-Linshalm - Live

Lyrics by M. Shikibu:

My place in the world:
Why should it bring me grief?
Mountain cherry
Blossom in my sight,
Were it ever so…


My place in the world for soprano, violin, cello and harpsichord - Délices de la Musique - Live

Escenas mitológicas según Tiziano I-III (Dánae recibiendo la lluvia de oro) - ensemble N - Live

In the forest, glow.
for bass clarinet in Bb, piano, and percussion
Written for the Toy Piano Composers
Recorded by Musikon Concerts

"In the forest, glow." is based on the illustration Don’t Feed the Deer by Brandon James Scott, a Toronto-based artist and also a good friend of mine. His works have a decidedly playful feel to them, especially in his work with animation and illustration. Animals are a frequent subject, often popping up in unusual settings, such as kitchens, bars, and rock arenas. I was originally enamored with Don’t Feed the Deer because it has a mysterious, magical, and yet almost foreboding quality to it. Scott says of the work: “When I originally made it... I wanted to make something dream- like, fantasy-based: the colours, the glows, the design of the world. But are we walking down this path, are we supposed to see what's beyond it? Are we meant to observe but not touch things, because of a hidden danger? Are there always deep dark fears lying hidden amidst beauty?”

In the forest, glow.
Dry leaves crumble underfoot.
A busy quiet.

In the forest, glow. 
Secrets, gossip, mystery. 
Hazy precipice.

In the forest, glow. 
Browsing statues scrutinize 
A subtle order.

-Monica Pearce 2012

In the forest, glow.

A project of original music blending jazz-funk, reggae, rock, and circus music.

Musicians:
Robert Kerley: Keys
Grant Harse: Bass
Devin Heath: Drums
Jill Jackson: Alto Sax
Jade Brown: Tenor Sax

Skeleton Closet Medly

Premiered by Hannah Levinson (viola) at June in Buffalo 2018.

In 11-edo (11 equal divisions of the octave). 

The tuning sounded not too different from 12, especially the 2nds/7ths and the minor 3rd/major 6th somewhat. I found that it was the supermajor third/subminor 6th and the 4th/5th that were particularly "pungent" and interesting.

I also considered how to make a solo piece sound clearly microtonal.

The scala file for those interested:
!
11-edo (11 equal divisions of the octave)
11
!
109.09091
218.18182
327.27273
436.36364
545.45455
654.54545
763.63636
872.72727
981.81818
1090.90909
2/1

Touch (in 11-EDO) (2018)

Stephen Fuss is a composer, and educator living in Boardman, Oregon. Their primary inspirations come from the Renaissance era, minimalism, and other tonal sound-worlds. Stephen’s music has been described as patient, playful, and melancholy. Their music is a synthesis of nature’s forces, emotional journeys, and dance rhythms. Stephen graduated with a Bachelor’s degree in music composition and in music education from the University of Kansas, where they studied with Ingrid Stolzel and David Colwell for composition and violin respectively. While currently teaching elementary music, they helped coach their first composition student to win a state award. Additionally they can be found working on composing more chamber and choral music of their own. Stephen is also looking forward to working with the Valparaiso New Music Ensemble this spring and returning to the Texas New Music Festival this summer.

A Clock That Talks In Ticks

Stephen Fuss

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