Preludes and Fugue is a four-movement antiphonal work-- specifically three preludes and a triple fugue-- written for three contrasting quartets: a double reed ensemble consisting of oboe, english horn, bassoon, and contrabassoon; a clarinet ensemble consisting of soprano clarinet, basset horn, bass clarinet, and B-flat contrabass clarinet; and a modified string quartet consisting of violin, viola, violoncello, and double bass. The first three movements are preludes designed to foreshadow the fugue. Each prelude isolates one of the quartets and explores one of the impending fugue subjects in contrasting atmospheres and styles.
 
The first prelude explores the initial motive of the third subject, performed by the double reeds. Stylistically, the prelude is of a light and playful character that one normally would identify with the bassoon. This fragment of the third subject is passed around humorously from one instrument to another.
 
The second prelude of the string quartet explores the first subject of the fugue but with much more subtlety. Specifically, the initial leap of a major 7th in the first subject, as well as its minor 2nd inversion relative, is developed in harmonic fashion rather than melodically. This movement explores darker emotions, spanning a lament to an ill-fated romance.
 
The third prelude develops the second subject with much more stylistic contrast in comparison with the first two preludes. The clarinet quartet showcases their wide range of possible color combinations. The prelude begins aggressively, then lightens in accompaniment, yet juxtaposes itself with a rustic, penetrating B-flat contrabass clarinet solo. A lyrical section follows, a peculiar section follows later, then the prelude ends with a light-hearted and playful section.
 
The finale is a triple fugue of the three subjects, involving all three quartets. The fugue begins traditionally but slowly opens up to experimentation with more modern representations of counterpoint. Each subject is introduced separately with its own exposition, played by its respective quartet. However, after all three expositions conclude, the three ensembles unravel and then intertwine as one mass ensemble. At one point, all the bass voices are vertically stacked on top of each other and each act as an individual bass--in an interesting moment, the B-flat contrabass clarinet overtakes the double bass as the bottom voice. Then the other voices interact over each of these basses in their respective harmonic regions, creating tri-tonality within the confines of the fugal setting.

Preludes And Fugue- III "Clarinets"

"the place above us" is not centered around one, definable idea.  Instead, the work is meant to paint an image of a scene larger than the scope of humanity, to create a sonic landscape that is massive and alien, yet at once very personal.  The listener is placed far away, watching the landscape evolve slowly over time to its final form.

Performance at Shenandoah Conservatory
Recorded by Alex Haley 

the place above us

Hypnic is an art song for solo soprano and piano
Original Poetry: Josephine Cariño
Soprano: Kirstie Mosher
Pianist: Thomas Joseph
Composer: Thomas Joseph

Hypnic (Live-raw) Kirstie Mosher(Soprano), Thomas Joseph(Composer/Piano), Josephine Cariño (Poetry)

Kirstie Mosher, Come To Me In My Dreams - Bridge

Scorched is meant to evoke the sound and force of a burning forest, leaving behind a black, desolate landscape.

This recording is of a reading by the American Modern Ensemble, mixed and mastered by the sexy, beautiful, and supremely talented Christopher Fenton.

Scorched

Minus 3. is a piece written about the breaking of friendship and how some of the toughest situations are the most necessary. 

Recorded during a reading with the American Modern Ensemble.

Minus 3. - Chamber Ensemble

#acousmatic;  #electroacoustic; #musiqueconcrete; #electronic

Pictured Remnants

Scatter Plot is a work for Pierrot Ensemble (Flute, Clarinet, Marimba, Piano, Violin, and Violoncello. 

Scatter Plot does not directly rely on common thematic material between instruments. Like the accompanying poem, performers are to seek correlation and a line of just fit for themselves, however tangible or intangible, direct or indirect those things may be.

This recording is a reading performed by American Modern Ensemble on February 23, 2017 during their residency at Shenandoah Conservatory. Recording and mixing by Christopher Fenton. Much appreciation and thanks to them.

Scatter Plot (Reading)

THE ensemble and Carly Stuneck harpsichord soloist.  Conducted by Jonathan Tang.   Performed at CalArts R.O.D. Hall on March 13, 2017.

Concerto For Harpsichord And Strings

Premiered April 14th, 2017 in the Wild Beast at CalArts.
Performed by the New Millennium Brass Ensemble :
Ethan Marks - Trumpet Solo
Cameron Kalemkarian, Lucas Lipari-Mayer, Evan Wendell - Trumpets
Allen Fogel - French Horn
Zach El-Megharbel, John Pisaro - Tenor Trombones
Robert Todd - Bass Trombone
Anthony Mason - Tuba
Edward Carroll - Director

Requiem (to my brother)

Composer, Conductor, Music Instructor. 
MM: Music Composition from Shenandoah Conservatory. 
BM: Music Composition from Old Dominion University.

Preludes And Fugue- III "Clarinets"

ThomasJosephComposer