Performed by Jack Quartet, Dec. 2020.

Composed for the JACK Quartet during a retreat at Robert Rauschenberg's former studio in Captiva,  "Everything Changes, Nothing Changes" is a work for string quartet that derives its compositional structure from a grid consisting of 14 sections that contain 16 permuted rhythmic units over a long period of time. (The tempo of the piece is so slow, however, that these units will be hardly perceptible to the listener.) Amid seemingly endless shifting harmonies, one of the constants is how the quartet functions as a unit without featuring single voices throughout the work’s entirety. Another constant that occurs is when two or three voices are playing a given sonority (an event), the ear tends to go horizontally towards the arrival of a new voice that enters. In other words, when one or more voices arrive within any event, the sonority then intensifies so that the resulting harmony is perceived more quickly than the way in which the voices move within that event.

Scores - Recordings

Everything Changes, Nothing Changes (final version)

For Marcos Balter (2020), is a two-movement work for violin and orchestra. Performed by the Lucerne festival Contemporary Orchestra, conducted by Chloe Dufresne. Maana Hori, violin.

This is NOT a concerto, but a meditative work. There is no protagonist. Nor is there an antagonist. Finally, there is no cadenza.

For Marcos Balter

Written for the Crossing Choir's 2022 album "Carols After a Plague," this composition is by no means a joyful "carol," in the traditional sense. Rather, it is a contemplative work that I feel deals with the question of what exactly are we referring to when we speak of "the plague" in the context of this very critical time (the year 2020, and up to the present). Is this "plague" limited to the COVID 19 pandemic we are still experiencing? Are we only making work about this pandemic only, or (speaking for myself and for my culture) perhaps the centuries old pandemic of white supremacy in America and in Europe?

Perhaps, while listening, we shall thusly consider first the continued feeling of being confined in isolation; the despair and frustration that we experienced as a result of social distancing, and the everyday precarity of life as an artist for those who are struggling. Furthermore, we shall examine the uptick in physical and gun violence as it concerns not only racism, but sexism, homophobia, and religious fanaticism, among many other civil strifes. Not to mention the threat of eviction, the separation of migrant familes through deportation and other means, homelessness, climate change, and so on... This composition is a direct response to all of the above.

Carols after a Plague

Requiem for a Plague

Inspired by and evocative of John Coltrane's quartet performance of the composition "Untitled 90320," For Harold Budd is a meditative piece written for alto flute, vibraphone, and piano. Performers are Margaret Lancaster (alto flute); David Broome (piano); and Russell Greenberg (vibraphone). Score available upon request.

For Harold Budd

THIS AUDIO RECORDING IS ARCHIVAL AND UNPUBLISHED. 

World premiere performed live on August 18, 2022 by Timothy McAllister (alto saxophone) and the Lucerne Festival Contemporary Orchestra.

For Wadada Leo Smith (Adagio)

Performed by Hub New Music. University of Houston - 17 February 2024.

THIS AUDIO IS RAW AND UNEDITED.

For Alvin Singleton

For ten instruments. Performed by Talea Ensemble (David Baker, conductor) on 28 March 2023.

THIS AUDIO IS RAW AND UNEDITED.

For Wayne Shorter

Commissioned by Opera Philadelphia, Carnegie Hall, and the Lyric Opera of Chicago, "Cycles of My Being" (2018) is a song cycle developed in collaboration with tenor Lawrence Brownlee (for whom the song cycle is written) and poet Terrance Hayes, both of whom contributed the texts. There are two versions of the work. The performers in this recording are Brownlee and pianist Myra Huang. The second version of "Cycles" is scored for tenor, clarinet, violin, cello, and piano.

Cycles Of My Being

Cycles Of My Being (piano-vocal edition)

"For Fred Lerdahl" (2018) is a work that was composed for the composer-theorist's recent retirement as Fritz Reiner Professor of Music at Columbia University, during which time he was my principal teacher. This work not only seeks to pay homage to a composer whose music I like very much, but also one who provided me encouragement and unwavering support during a very long period of self doubt while at Columbia. He almost singlehandedly (along with George Lewis) provided a platform for me to truly believe in myself, to be honest in my own output, and to embrace my interests as an artist, rather than to fight or question them. For these reasons, this composition is dedicated to him and his influence on many...yours truly included.

This piece was performed at a portrait concert presented by New England Conservatory's Contemporary Improvisation Department at Jordan Hall, and features Martine Thomas (viola), Alexander Garde and Jaewon Lee (vibraphones), and Ziang Xu (piano).

For Fred Lerdahl

"For Anton Vishio" (2019) is a composition for clarinet, flute, and piano. Anton Vishio is a composer, theorist, and pianist who was, to me, a kindred spirit - not only through his curiosity and celebration of new music that has and remains very important to me and work, but also through his uncanny ability to connect music of the past with what is happening now. He remains a dear friend, and this piece is dedicated to him.

For anonymity purposes, I will not name the incredible performers of this composition (unless they want to be identified, in which case I will list who they are...!) and its date of premiere. This is only for your ears.

For Anton Vishio

Simply put, the music is slow and requires patience. Not much more explanation is needed. Scores available for perusal/purchase.

Tyshawn Sorey

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