18 January 2017
Another activity this weekend was, I sent The Young Lady Holding a Phone in Her Teeth to a call; and yes, we all know that this will likely come to nothing. I suddenly remembered, last night, that I have also sent the first movement of the Symphony to a call. And although here, too, nothing may come of it, I felt anew what very good music I feel the first movement to be.
At the least, I enjoy the satisfaction of feeling that I am putting my best musical foot forward.
17 January 2017
I continued work Friday evening (light-ish duty), Saturday morning, some more light work Saturday evening, Sunday afternoon and evening, and this morning [I wrote, Monday afternoon the 16th]. Some of the start of work at some of the sessions included managing or tweaking some of the last bit of work of the day before.
Here on Monday afternoon of the Martin Luther King holiday, I am setting the work aside for the rest of the day (I believe). The score presently stands at 218 measures, the timing of the mechanized score is now four minutes and a quarter—so that (by my outline, a reference which is of course always subject to artistic revisitation) I have about 45 seconds of music yet to write, to carry the Symphony to its final double-bar.
I can see my way to the end, and will resume that tread Tuesday.
07 January 2017
01 January 2017
24 December 2016
14 December 2016
Weeks after the fact, I write of how very gratifying it was, to have not one, but two pieces performed which I wrote for local chamber ensembles, and indeed, to have enjoyed the privilege of conducting one of them. Additionally, to have had so wonderful a choir as Triad to give the belated concert première of the Song of Remembrance, Op.123 in their/our two concerts was wondrously satisfying.
In some ways I think that the most musically important thing I might say about the compositional process for both Oxygen Footprint and The Young Lady Holding a Phone in Her Teeth is, it felt great to write them. Knowing that all the several instrumentalists involved in either piece would be technically able to handle any reasonable challenge I might pose them, gave me as the composer freedom to give my imagination full play; and both pieces are surpassing playful.
Part of the rationale in putting the Song of Remembrance on the recent Triad concerts was, it is a piece which would be comparatively easy for a group of such accomplished singers. That said (and not unlike the Alleluia in D) it is a score which, while transparent in its ease, we might almost say, nevertheless requires focus and unflagging attention.
25 November 2016
The Music for the program:
- Agnus Dei, Op.106 № 5. Performance by Triad. (4:45)
- Metamorphosis of Charles Turner’s The Hebrew Children, Op.133 № 3. Source performance by the HTUMC Handbell Choir. (5:15)
- Out in the Sun, Op.88. Performance by the University of Michigan Wind Ensemble, directed by Rodney Dorsey. (15:10)
- Night of the Weeping Crocodiles, Op.16. Performance by The k a rl h e nn i ng Ensemble. (7:45)
- Moonrise, Op.84. Performance by MidTown Brass Quintet. (5:30)
- My Island Home, Op.115. Performance by the Reinhardt University Percussion Ensemble, directed by Olivia Kieffer. (5:30)
- From the Pit of a Cave in the Cloud, Op.129 (excerpt). Performance by Barbara Hill Meyers & The k a rl h e nn i ng Ensemble. (4:15)
- Suspension Bridge (In Dave’s Shed): Sonata for Viola & Piano, Op.102, second movement. Performance by Dana Huyge & Carolyn Ray. (12:30)
- Jazz for Nostalgic Squirrels, Op.117. Performance by the 9th Ear. (4:45)
- Mistaken for the Sacred, Op.141. Fixed media component. (7:15)
- Castelo dos anjos, Op.90. Performance by Tapestry. (13:00)