Audio editing with New Morse Code
So so so excited to be back up at Avaloch Farm Music Institute for a summer of incredible chamber music, composer/performer collaborations, and FOOD. I'm celebrating by helping out in the kitchen. Stay tuned for videos, photos, and humble bragging emanating from Boscawen, NH, and follow us on our shiny new instagram page!
Excited to present the NYC premiere of Christopher Stark's The Language of Landscapes, a commission from Chamber Music America, next weekend at Concerts on the Slope. This piece has been a labor of love since 2014, and Chris, Hannah, and I have been traveling and sound collecting rabidly. The piece incorporates found sounds and foraged instruments, blending four chapters into a meditative look at the impact of our physical landscape on our emotional being. New Morse Code premiered LoL last November in St. Louis, and are excited to take the completed work to New York (we presented an excerpt last May in Bryant Park)
The Language of Landscapes is an exploration of our relationship with nature. The piece’s principal discourse is guided by the friction and/or harmony created by synthetic and natural objects and the sounds and ideals that accompany their existence. The single-movement work has four scenes that each incorporate found discarded objects, field-collected environmental recordings, and live electronic processing as a way of making commentary on our wastefulness and resourcefulness. We have arrived at an era of human history in which our relationship with nature is critical, and likely calamitous, and this work is ultimately an attempt to illuminate the importance of the geographies of our existence and how they shape our musical spirit.
Over the piece's four sections, I blow into bottles, play tuned styrofoam bowls, rub planks of wood, and imitate flowing water. The pièce de résistance is a passage to rival even the third movement of Scheherazade : the coordinating turning on and off of a rotating fan.
Come out May 22 to St. John's Episcopal in Park Slope!
Back from a week in MI with NMC. More news soon! Enjoy Drum Day!
Still reeling from the awesome-sauce that was Avaloch Farm Music Institute's musical celebration at National Sawdust. We had a great evening of performances featuring ensembles who've worked at Avaloch and pieces made there.
Thanks to everyone who performed, and to Andy Akiho, Hannah Collins and everyone else who made this event a reality. aTonal Hits, Aizuri Quartet, the Sebastians, Loadbang, Longleash, and Marika Hughes: you all rock!
Remember folks, use a metronome!
Back from a fantastic month in Hong Kong and Hawaii, and rearing to get to work again.
Site updates (including dates, new media, etc) coming soon. In the meantime, rest assured I am practicing…
AND thinking about Avaloch Farm's New Music Initiative, a fantastic program for composer/performer collaboration that needs YOUR creative work to stay a dynamic resource! Apps are due Feb 15!
Had a blast experiencing this year's PASIC (that's Percussive Arts Society International Convention for you non-percussionists) last week in San Antonio. In addition to catching up with all my percussion friends, heroes and frenemies from around the world, I had the honor of sharing the stage with Gwen Dease, Ji Hye Jung, and Paul Fadoul as part of a keyboard showcase concert featuring music for percussion and…not-percussion! Hannah and I played Andy Akho's 21, and we were treated some some great Klatzow from Ji Hye and Eli Lara, some great marimba/trombone/bass music from Gwen and cohorts, and Lawler/Fadoul's sweet new Roshanne Etezady preludes.
Other highlights: Percussion at Princeton's amazing booth—I bought a ton of music—seeing Vic Caccese shill for Sandbox Percussion's new NYU summer program (apply!), and indulging my inner high-school drumline fanboy. Thanks to the great people at Vic Firth and Zildjian for their support. Yay percussion!