piece
(duration)
year
scoring
score
audio
flute loops
(trio for flute)
(9′-11′)
2014
flute solo + prerecorded flutes
for ruth first
(25′)
2014
two pianos
music for
viola
(13′)
2011; arr.
2013
viola
12
(10′ – >20′)
2013
open instrumentation
for philip
glass
(excerpt from 2006 string quartet as arranged for piano
solo)
(8′)
2013
piano solo
unfinished
work for allan cronin
(21′)
2013
piano solo
300
(30′)
2013
flute and bass clarinet
tbd
(50′)
2013
piano solo
brasstet
(50′)
1997; arranged 2013
string quartet + contrabass
for four
(23′ – 46′)
2012
piano or four instruments
two voices
(25′ -
>40′)
2012
keyboard or any two instruments
flutes
and trombone
(27′)
2012
two
flutes and one bass trombone (or two identical treble
instruments and one bass instrument)
piece
for keyboard and another instrument
(31′)
2012
keyboard
and
one other (treble) instrument
piece
for contrabass
(23′)
2011
solo
contrabass
music
for cello
(13′)
2011
solo
cello
hevron-deir
yassin
(45′-60′)
2011
open
instrumentation
I-IV-V-I
(25′)
2011
vibraphone,
violin,
cello
dharmachakramudra
(7’30”)
2010
vibraphone,
viola,
cello
piece
for electronic organ and bongo drums
(16′)
2010
electronic
organ
and
bongo drums
4/4
(22′)
2010
electronic
organ
four
strings for todd reynolds
(25′)
2010
violin
solo
quartet
for piano
(40′)
2010
piano
solo
piece
for rebecca
(20′)
2009
any
keyboard
torture
memos (a survivor from guantánamo)
(40′)
2009
soprano,
mezzo-soprano,
flute,
bass clarinet, marimba, electric bass, violin, cello,
piano
two
rhythmic spaces
(10′)
2009
two
percussionists
two
improvisations
for
synthesizer
(for
james
combs)
(17′)
2009
synthesizer
virtual
music
1

virtual
music 2
zichron
(in
memory of bisan, maye, aya and nur abu al-aish)
(48′)
2009
saxophone
quartet
(in C)
(transposed)
bs piece
(double canon for bill solomon)
(20′)

2008
six
marimbas
(or
one marimba + tape)

(condensed
score)

(uncondensed
score)
<10′
(9′)
2008
open
instrumentation
ushabti
(40′)
2007-2008
violin
and piano
darfur
pogrommen
(47′)
2007
open
instrumentation
(Steve
Layton recording
)

(original
version)

this
piece intentionally left blank
(10′)
2006
keyboard
(or
any
group of instruments)

(open
instrumentation
version)


(realization
for
flute,
violin, cello and piano)

(original
version
for
keyboard)

(Diverse
Instrument Ensemble)

(version
for
flute,
violin, cello and piano)
for
philip glass

(ca.2
hrs)
2006
string
quartet
for
roger copland
(28′)
2005
alto
flute
mf
(13′)
2004
string
quartet

five
notes for christina fong (11′)
2004
string
quartet
piece
#1 for electronic organ (24′)
2000-2004
electronic
organ
piece
#2 for electronic organ (5′)
1999-2000
electronic
organ
piece
#3 for electronic organ (13′)
2000-2001
electronic
organ
quadratics
(10′)
2000
chorus
objects
(11′)
1999
marimba,
piano,
electronic
organ

(premiere)

(synthesized
realization)
streams
of
consciousness
(44′)
1997-1998
string
orchestra
brass
piece
for
arielle victoria (47′)
1996-1997
3
trumpets, 2 bass trombones, tuba
cantorials
(61′)
1994-1995
string
orchestra
+
electronic organ
digitals
(40′)
1992-1993
string
orchestra
two
sets
(36′)
1990-1991
string
quartet
vector
music for edward hopper
(23′)
1988-1989
piano
textbook:
music of solitary landscapes in hyperspace (piece for
IPS)
(2h
8′)
1984-1987
piano
improvisational
study
no.1
(shingon mándaras)
(2h
4′)
1981-1982
piano
ineffabilties
(37′)
1980-1981
piano
oblivions
(3′
30″)
1979
chorus
four
landscapes for six instruments
(12′)
1978-1979
flute,
alto
sax,
horn, trumpet, trombone, contrabass
seven
songs after poetry of james joyce
(18′)
1978
soprano,
piano

10 thoughts on “

  1. perkustooth says:

    David, as you know I have been following your musical developments since about 2006. I always find your new works intriguing. What I have noticed lately, particularly with the Piece for Keyboard and another instrument is that you seem to be capturing a bit of the orbit of some of the sound world of David Borden. If you know the Double Portrait for two pianos you will get the idea. I was imprinted early on by Aaron Copland’s concept of a “sound Image” (not sure of the exact term) in which, upon hearing a piece of music the listener gets an overall impression. Debussy sounds like Debussy. Nancarrow sounds like Nancarrow. Partch sounds like Partch. Etc.

    In particular the Piece for Keyboard and Another Instrument (love your clunky Feldman-esque titles) reminds me at first of the the rhythmic structure of Triadic Memories but slowly morphs into some David Borden-like sounds and finally into a whole other sound world which is a synthesis of Feldman, Borden, Glass, etc. In short I think you are evolving nicely and I continue to be compelled to listen.

    Are any of your medical colleagues musically inclined to play, compose or even listen to new music?

    Repeatedly,
    Allan

  2. dtoub says:

    Thanks for the kind words, Allan. That piece just happened, and did not go into the direction I thought. At first I was pretty concerned, since some of the harmonies seemed to me to be reminiscent of both Borden and Meredith Monk. Not that that’s a bad thing, but I really don’t want to sound like someone else. But the more I listened to the piece as it developed, the more I thought it also sounded a bit like some of my stuff from the early 80’s, so it was a bit backwards-looking. And the reality is that all composers at some points have little sections that sound like someone else. I can point to parts of Adams that sound like Reich. Many Feldman works sound like Webern (indeed, Feldman once described his works as Webern, only longer). There’s a really great piano piece by Alvin Curran (For Cornelius) that starts off with what is clearly Satie. Who cares? In the end, it’s the music that matters, and if you have your own voice, I think it will come through. David Borden would not have written this piece any more than anyone else would have.

    In the art world, no one really cares about such stuff. Many of the early Cubists, frankly, had very similar styles. I can’t really tell the difference between a Picasso and a Braque. Same with many of the abstract expressionists. Some are indeed unique (Mondrian, Miró), but even they at times painted things that resembled work of others. I think it’s one thing to display one’s influences, and think most composers do that from time to time. It’s a different matter to directly take notes/measures from someone else, although that can be ok as well (Ives, for example).

    So thanks!

    • perkustoothn says:

      As you probably already know my comments were observational and not critical. Michael Colgrass actually encourages his students to imitate other composers as a means of developing their individual styles. I am just fascinated at the range of composers’ styles that your work seems to touch upon.

      • I think that composers are almost always in debt to their colleagues and peers, and their musical ancestors. Making music that makes sense often means integrating techniques, structures, and styles that are already in the world.

  3. clarinetjo says:

    I just wanted to thank you for your music, i’m deeply interesting by your works which i’m discovering gradually and i would like to encourage you to keep going !
    I particularly like 4/4 !

    • dtoub says:

      Many thanks. Just to let you know, 4/4 will be released commercially in the coming year, if I can find a time to sit down and record it!

      • clarinetjo says:

        Good luck ! Since, 4/4 was released under CC by-NC license, i take the liberty to put a video with the work as soundtrack on YouTube. Can tell me if it’s good for you ? Here’s the link : http://www.youtube.com/watch?v=g2J3KH4uXl0
        Have a nice day !

      • dtoub says:

        Thanks. This is appreciated. My only question is whether you might not want to do more with the video, since it only shows the first three measures and that’s a lot to stare at for 21 minutes ;-)

  4. clarinetjo says:

    Thank you ! In fact, i was planning to make a little animation by using a rapid succesion of similar pictures, but my editing software always crash when i try to put all pictures in the video…. if i manage something to fix it (perhaps using the whole score, but since it’s a PDF file, i would have to take screenshots to convert it into PNG, and i’m afraid it will still be too much pictures for the programm…), i will release something more sophisticated :)

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