Composer
This summer, I sat down with Rob McClure of Adjective New Music for a conversation on my music and composing process. The interview was posted in September on the Lexical Tones Podcast. Take a listen!
https://www.stitcher.com/podcast/lexical-tones/e/64090290?autoplay=true
October 1: The Piano Centre for Music and Arts. Christchurch, New Zealand. Duo Per se performs Clarinet and Piano.
October 3: Holy Trinity Cathedral. Auckland, New Zealand. Duo Per se performs Clarinet and Piano.
October 4: APMA Auckland Music Festival. Auckland, New Zealand. Duo Per se performs Clarinet and Piano.
October 16: The Bowling Green State University 40th Annual New Music Festival. The BGSU New Music Ensemble premieres XIII for chamber ensemble.
October 17: IDNÓ, Reykjavîk, Iceland. Duo Harpverk premieres Warm Glass on Stone for harp and percussion.
October 18: Hljómahöll, Reykjavîk, Iceland. Duo Harpverk premieres Warm Glass on Stone for harp and percussion.
October 25: University of Nebraska at Kearney. Robert Benton and Steve Larson premiere Nine Miniatures in Four Parts for euphonium and piano.
September 6: Liz Pearse performs And So, the Penguin at Narloch Piano Studio in Chicago, IL.
September 15: Chris DeLouis performs Interfere at the 2nd Asia Saxophone Congress.
The International Contemporary Ensemble will perform my Piano Trio as part of their residencies at the University of North Texas and Southern Methodist University! The performances will take place on Saturday, October 27th (UNT) and Sunday, October 28th (SMU).
If you can make it to either (or both!) of these performances, thank you!
On March 29th, 2005, I gave my final graduate recital in percussion performance. I hung up my mallets and focused my energies on studying composition, figuring I would never perform again in a solo recital setting.
I don’t listen very well to myself, apparently.
Please join me on March 29th, 2018, as I give my first solo recital in (exactly) 13 years. Essentially, this is a dual composition/percussion event, as I’ll be premiering a new 50-minute work written specifically for this recital, titled Meditation on Paraphrase as an Antonym of Quotation. Bookending the work will be Meadowlark by Tawnie Olson, and a small contribution to the Bernstein centennial.
Program notes for Meditation on Paraphrase as an Antonym of Quotation:
Meditation on Paraphrase as an Antonym of Quotation is the third and last of my Meditations for a solo percussionist. These pieces are not to be considered “music to which one meditates.” Instead, they are the result of long meditations on a particular subject. The first, Meditation on the Eve of John Cage’s 100th Birthday, was the result of a meditation on chance operations. The second, Meditation on Italo Calvino’s ‘The Castle of Crossed Destinies,” was the result of a meditation on different paths of a linear structure as determined by the placement of elements within a frame. During the composition of the third piece, I was occupied, at times to an unhealthy level bordering on obsessive, with two subjects: Kafka, specifically the absurd and grotesque situations and environments in which he places his characters, and distortion, specifically the first entry in Merriam-Webster’s definition of the term: “the act of twisting or altering something out of its true, natural, or original state: the act of distortion; a distortion of the facts.”
I was recently interviewed by Anthony Joseph Lanman on his 1 Track Podcast! We discussed my evening-length piece, V: oratio secreta, as well as evening-length pieces in general, different ways of approaching time in a composition, and the influence of literature on my music. I hope you like it!
I was recently interviewed by (newly minted Dr.) Jon Fielder for the KLANG blog!
The music of Webern should be taught alongside the stories of Lydia Davis.
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