|
piece
(duration) |
year
|
scoring
|
score
|
audio
|
|
brasstet
(50′)
|
|
string quartet + contrabass
|
 |
 |
|
for four
(23′ – 46′)
|
|
piano or four instruments
|
|
|
|
two voices
(25′ – >40′)
|
|
keyboard or any two instruments
|
|
|
|
flutes
and trombone (27′)
|
|
two
flutes and one bass trombone (or two identical treble instruments and one bass instrument) |
|
|
|
piece
for keyboard and another instrument (31′)
|
|
keyboard
and one other (treble) instrument |
|
|
|
piece
for contrabass (23′)
|
|
solo
contrabass |
|
|
|
music
for cello (13′)
|
|
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) (uncondensced score) |
|
|
<10′
(9′) |
2008
|
open
instrumentation |
|
|
|
ushabti
(40′) |
2007-2008
|
violin
and piano |
|
|
|
darfur
pogrommen (47′)
|
2007
|
open
instrumentation |
|
|
|
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 |
|
|
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
Wow, it lists my post at 5:30PM. Well it’s 10:30AM here in rainy Alameda, CA.
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!
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.
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 !
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!
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 !
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
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