|
piece
(duration) |
year
|
scoring
|
score
|
audio
|
|
revolutionsdenkmal
(35′)
|
2023 |
alto flute, bass clarinet, alto sax, piano, violin, cello, contrabass
|
 |
 |
|
unrest
(35′)
|
2022 |
piano
|
|
|
|
loud silence
(20′)
|
2022 |
2 violins + viola
|
|
|
|
improvisation november 2021
(52”)
|
2021 |
piano
|
|
|
|
six
(>30′)
|
2021 |
open instrumentation
|
|
|
|
days of rage
(40′)
|
2021 |
string orchestra
|
|
|
|
consonance/dissidence
(26′)
|
2021 |
string quartet
|
|
|
|
duophony
(26′)
|
2020 |
open instrumentation
|
|
|
|
gendarme de la libertad
(32′)
|
2020 |
speaker (or speaking pianist) + piano
|
|
|
|
improvisation april 2020
(35′)
|
2020 |
piano
|
|
|
|
cello quartet
(37′) |
2019 |
cello x 4
|
|
|
|
improvisation july 2019
(56′) |
2019 |
piano
|
|
|
|
piano loops
(28′) |
2018 |
four pianos
|
|
|
|
improvisation-december 2018
(25′) |
2018 |
piano
|
|
|
|
subversives
(30′) |
2018 |
string quartet
|
|
|
|
variation
(20′) |
2018 |
French horn, piano
|
|
|
|
quiet noise
(13′) |
2017 |
violin, cello
|
|
|
|
sonance
(41′) |
2017 |
violin, cello, piano
|
|
|
|
jk
(bad canon for four violins)
(9′) |
2017 |
4 violins
|
|
|
|
dystopia
(30′) |
2017 |
2 flutes, 2 bass clarinets, farfisa organ
|
|
|
|
untitled 1
(20′) |
2016 |
open instrumentation
|
|
|
|
focused music
(4h 15′) |
2015-2016 |
piano solo
|
|
|
|
5/21/16-5/28/16 (from focused music for piano)
(10′)
|
2016 |
piano solo
|
|
|
|
dual (from focused music for piano)
(9′)
|
2015 |
viola and cello
|
|
|
|
canon 11_11_15-11_19_15 (from focused music for piano)
(13′)
|
2015 |
piano solo
|
|
|
|
voices and organ
(9′) |
2014 |
chorus (SATB) + organ
|
|
|
|
air waves
(23′)
|
|
brass quintet (2 tpts,
Fr horn, bass tbn, tuba)
+ synthesizer
|
|
|
|
flute loops
(trio for flute)
(9′-11′)
|
|
flute solo + prerecorded flutes
|
|
|
|
for ruth first
(25′)
|
|
two pianos
|
|
|
|
music for viola
(13′)
|
|
viola
|
|
|
|
12
(10′ – >20′)
|
|
open instrumentation
|
|
|
|
for philip glass
(excerpt from 2006 string quartet as arranged for piano solo) (8′)
|
|
piano solo
|
|
|
|
unfinished work for allan cronin
(21′)
|
|
piano solo
|
|
|
|
300
(30′)
|
|
flute and bass clarinet
|
|
|
|
tbd
(50′)
|
|
piano solo
|
|
|
|
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 bass trombone
|
|
|
|
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
(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
|
|
|
|
bs piece
(double canon for bill solomon)
(20′)
|
2008
|
six marimbas
(or one marimba + tape)
|
|
|
|
<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) (DiverseInstrument Ensemble live in concert) (Univ. Tennessee Martin Contemporary Music Group)
|
|
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) |
|
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
|
|
|
|
canonical ensembles
(1h 35′)
|
1983-1984
|
alto flute, bass clarinet, alto sax, piano, violin, cello, contrabass
|
|
|
|
improvisational study no.1
(shingon mándaras) (2h 4′)
|
1981-1982
|
piano
|
|
|
|
ineffabilties
(37′) |
1980-1981
|
piano
|
|
|
|
ariel
(three paradigms for violin and piano)
(?) |
1980 |
violin and 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
|
|
|
music of david toub 
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 🙂
I like For Ruth much
Dear David
Hello. My name is Yuka Matsumoto from Japan. I play the violin and I just found your music(jk-bad canon for four violins Recently ) on IMSLP recently. I had fun recording it today using an app called “acapella” whilst I’m staying at home because of what’s on in this world nowadays.
I just wondered if it’s okay to post it in public like an Instagram, FB, and acapella.
I’d like you to check first before I post it, so it would be great if you could kindly get back to me, so that I can send the video to you. (Apologise that I accidentally added one bar before figure AB…)
Thank you!
Yuka Matsumoto
Yes; that would be great! Thank you. I would love to see and hear it!