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MUSIC for Large Ensemble


Orchestral music and Concerti

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MUSIC for Large Ensemble


Orchestral music and Concerti

Missed Connections Despite

for Orchestra
6 mins. (2017)

against COLORADO

for Orchestra
10 mins. (2011)

eating filumena lionheart

for Oboe and Chamber Ensemble
21 mins. (2009)

Magnificat

for Womens Voices and Chamber Ensemble
15 mins. (2003)

Fuel

for Electric Violoncello and Orchestra
30 mins. (2001)

Rutherford B. Hayes

for Trombone Solo and Chamber Ensemble
24 mins. (1998)

 
 
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MUSIC FOR Chamber Ensemble


Small to medium ensemble pieces.

MUSIC FOR Chamber Ensemble


Small to medium ensemble pieces.

The History of the String Quartet in its Natural Habitat

for String Quartet and Video Projections
20 mins. (2017, In Progress)

How I Fell In Love with W

for chamber ensemble
(In Progress)

Notes on
The Deliverance Machine

for cello trio and pre-recorded electronics
9 mins. (2016)

Sororatorio

for Voice and Pierrot Quintet
20 mins. (2015)

Bone Chinoiserie and the Alabastard Cowboy

for Oboe, Clarinet, Violin, Viola and Contrabass
9 mins. (2014)

When I Dream
Some Letters Fall Out Of My Mouth To Make A Word

for String Trio and Pre-recorded Electronics
11 mins. (2013)

Les Étoiles Secrètes

for Vibraphone and Pianoforte
12 mins. (2011)

String Quartet

for String Quartet
22 mins. (2010)

allMan

for Percussion Quartet
8 mins. (2008)

(i am a devil)
Pissing Into the Sunset with a Raincoat in my Hand

for 2 Percussionists, Amplified Violn and Viola
4 mins. (2016)

(at times my sadness falls into

for Piano Quartet
14 mins. (2000)

To Boston For Sex

for Pierrot Sextet (or Septet)
8 mins. (1998)

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MUSIC FOR SOLO INSTRUMENTS


MUSIC FOR SOLO INSTRUMENTS


Piano Solo

Kodokushi
(孤独死)

for Piano Solo and Pre-recorded Electronics
9 mins. (2014)

Chain Black Cadillac

for Piano Solo
14 mins. (2004)

music for sundays

for Piano Solo
Various Durations (1999-2000)

 
 

The Robot Sakura

for Toy Piano Solo and Pre-recorded Electronics
9 mins. (In Progress)

 
 

Solo Strings

Notes on
The Deliverance Machine

for Viola Sola and Pre-recorded Electronics
9 mins. (2014)

La Passion de Jeanne d'Arc

for Viola Sola, Pre-recorded Electronics, and Film
80 mins. (2003)

eyeliner ashtray

for Violin Solo
5 mins. (2014)

visible light

for Viola Sola and Pre-recorded Electronics
8 mins. (2005)


SAXOPHONE SOLO

BLUEBALLER

for Alto Saxophone and Piano
3 mins. (2012)

Ginastera

for Alto Saxophone and Pre-recorded Electronics
9 mins. (2001)

 

Percussion Solo

Les Étoiles Secrètes

for Vibraphone and Pianoforte
12 mins. (2011)

MEN

for Solo Percussionist playing an array of 12 bass drums
7 mins. (2008)

 
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MUSIC FOR THE THEATRE


MUSIC FOR THE THEATRE


Opera

Beckett

an Opera in One Act
60 mins. (2004)

The Toilet

a pOpera in Two Acts
2 Hours (2000)

 

Live Silent film scores

La Passion de Jeanne d'Arc

for Viola Sola, Pre-recorded Electronics and Film
80 mins. (2004)

The Cabinet of Dr. Caligari

for Low Strings and Film
67 mins. (2000, rev. 2015)

 

Ambient Opera

[escala.]

for Unspecified Ensemble
5 Hours (2000)

she stood there —
sliding into night

for Voice, Accordion, Electric Organ, and 2 Violoncelli
61 mins. (1999)

Advent Days

an Opera in Three Acts with Death Diagram
24 Hours (1998)

Jacob's Ladder

for Unspecified Ensemble
12 Hours (1999)

In early 1998, I had become interested in the idea of composing music of extreme duration — an idea born from the long pieces of Morton Feldman, the early ensemble pieces of Philip Glass, and surrealist poet Federico Garcia Lorca's concept of the pasaje.

What I saw in those pieces, and ultimately reflected in these works, was the idea of a glacially-paced metamorphosis of harmony and melody that is completely divorced from an audible temporal grid. The result of this manner of compositional thinking are these ambient operas — "ambient" in the Satie/Eno sense of the word, and "opera" in the Robert Wilson tradition of a large scale 'work.'

Extraordinarily taxing to play on the body and mind, the durations of these operas became shorter over time — the longest is Advent Days, a full 24 hours of an unbroken chain of sound. [escala.] became for me, the ideal length — five hours. A seemingly reasonable amount of time to allow the music to emanate from a single source, fill the space, and then recede over time.