I (and some other sonicnauts) contributed 3 minutes of noise and 12 minutes of silence to vol. 5 of the Simultaneous Aural Detriments compilation – the kicker is that each contributor arranged their 3 minutes of noise differently among own 15 minute track. The organizer layered them all together and let the sounds and structure of the piece emerge as they may.
This is always a really fun project – and, I had totally forgotten what I had sent, so it was even more of a pleasant surprise to listen to it and figure out what the heck I did.
(If this seems like a familiar concept, it’s because I also contributed to volume 1 in 2015)
“Looking Glass Looking” is a chilled-out musical palindrome. I call it a “crab hocket” – meaning the keyboard plays the melody forwards and the piano plays the same melody backwards, and each part leaves room for the other.
This was developed during a class on canons at the Walden Creative Musicians Retreat.
Piano and recording by Istvan B’Racz
Hooray! I just got back from The Walden School’s Creative Musicians Retreat, where my new art song, a setting of Thomas Hardy’s piece “The Selfsame Song,” was debuted (expertly!) by Renée Favand-See and Steven Beck.
Recording coming soon. It was a whirlwind of classes, rehearsals, lessons, and performances. I was really knocked out by how great my peers’ music was and what great people they were.
(That said, of course it’s great to be back home with my most favorite people (and cats) of all.)
It was also a real kick-start creatively – I am jazzed to write at least 8 new pieces this summer, and revise and resubmit my chamber opera.
As always, more to come….
I played “Jingle Bells, Jingle All the Way” on my upright and then processed it ways 50 ways from Sunday to make a track for this “Christmas Noise” compilation:
(I’ll bet you didn’t know “Christmas Noise” was a genre, did you???)
I just released a new six-song EP!
“nevernaut” is a live electronics solo set I did performed at Carl Testa’s “Uncertainty Music Series” a while ago.
A central element of the album is processed voice – I think it’s really interesting to combine the intimate immediacy of the voice with the wild, otherworldly possibilities of electronic processing.
The album also features accordion and the sounds of healthy snacking.
It’s a little meditative and a little weird.
You can get it at:
Ok, I am super excited to share this!
I have a new composition on an album distributed at the 2016 Darmstadt Institute! The Distractfold Ensemble released the album, “historage: Remixes/Reworkings/Responses,” in an extremely limited edition CD to participants in the historic Darmstadt International Summer Course for New Music.
(But YOU don’t have to attend Darmstadt to hear the composition – you can save yourself some travel expenses and check it out on my Soundcloud!)
Since the 1950’s, the Darmstadt Summer Course has been a meeting place for musical heavy-hitters, including John Cage, Karlheinz Stockhausen, and Olivier Messaien. I was selected to compose a piece in response to a selection from their archives: Marta Gentilucci’s “Radix Ipsius.”
It was an incredibly fun exercise, and it made Radix Ipsius one of my new favorite pieces! I’ll detail my process later, but, long story short, I knew I wanted to take the “spirit” of the woodblock that opens Gentilucci’s piece and apply it to a piano chord. So, I made a grid that analyzed each of Radix Ipsius’ sections by tone length, texture, pitch variation, density, sound source, and order. I then shifted each row of characteristics to the right or left, at first manipulating them to fulfill my desire to let the woodblock become sustained chords, and then letting the rest of the characteristics follow the pattern that created the woodblock adjustments. If that doesn’t make sense, don’t worry, I’ll explain more later!
Big thanks to the Distractfold Ensemble for putting this all together and including me!
My next blog post will go into the nitty-gritty details of how a “serial parameter shift” works and how I used it to make this piece.
I had a great weekend performing at the North Country Electronic Music Festival in Montpelier, VT. The event was organized by Dennis Bathory-Kitsz, Anne Decker, and David Morneau, and was part of of the 24th annual South End ArtHop – so it was a very cool scene with people coming in and out of the club all day if they were intrigued by the sounds emanating from within.
I performed the new second movement of “Piano” with my collaborator (and fellow VCFA alum) Aaron Cecchini-Butler.
Our collaborations are usually constrained by distance and time, but this time it was REALLY constrained – to the point that we weren’t able to rehearse until the morning of the performance. We had each written our parts individually without hearing the other’s contribution and, magically, they fit together almost immediately. We made some minor tweaking (and a beat…and a sub-bass, because every beat needs a sub-bass…) but we were ready to go pretty quickly.
(few people know that my love of improv extends to performance furniture…)
We were interviewed by Kalvos and Damian (Dennis Bathory-Kitsz and David Ross Gunn, who, might I add, has excellent taste in pants hues).
And we were hosted by Craig Pallet, a great composer who had also performed at the festival and who alsoincidentally takes amazing selfies:
Aaron and I debuted our new project, “Osaka Color Theory.” Watch this space!