- Jay Hamilton
- Jeremiah Lawson
- Susan Maughlin Wood
- S. Eric Scribner
Friday, July 8, 2016, 8 pm
Chapel Performance Space
4649 Sunnyside Ave N, 4th Floor
$5–15 suggested donation
“Theater Piece #1, for cello is much like a person thinking aloud,
although with music rather than with words. The beginning somewhat
lyrical theme gives way to an introspective-sounding series of
gestures including harmonics and quiet pizzicato. A middle section
becomes more energized but with syncopated attacks. The ending should
give the feeling of a kind of fragmentary reminiscence of the earlier
material, concluding with high harmonics and a suggestion of interaction of different musical points of view, and a sense of wonder or questioning.
Carson Farley will be the featured cellist.”
Transcendental Object, for computer-realized sound
“The title, Transcendental Object, refers to an idea of Immanuel Kant. Kant’s idea, the transcendental object, is that of the fundamental nature of reality being beyond the ability of the brain, or the senses, to detect/understand — that everything our senses can detect is a simplified representation of what’s really there.
It seems like a bit of a looming elephant in the room (and hopefully not too clichéd) that we experience ourselves as being here, but none of us knows why or how; what here is, who we are, etc. So, I’m trying to represent that which is beyond our capacity to know — using computer programming to create patterns which are too complex for our brains to follow.”
“The Setzer/Ziefel Duo commissioned me to write a duet for two bass clarinets that would showcase their full four-octave range and wide palette of sounds available from this extremely versatile instrument. Four Moods fully explores extreme emotions through expression with an astonishing array of dynamics and colors.”
“I will be presenting two pieces for piano and toy piano duo: Western States Pictorial and Crossing Parallel Lines. Both compositions draw on imagery and narrative to take the listener on a sonic journey. I find that the toy piano and piano look interesting together on a stage and I really enjoy the way they sound in ensemble. Crossing Parallel Lines will be premiered at the March salon.”
“The prelude and fugue in F-sharp Major for solo guitar are fairly short. The tone of the pieces and the key were inspired by Olivier Messiaen's Vingt regards sur l'enfant-Jésus. The prelude is pretty short and full of false relations inside a laconic march-chorale. The fugue is in just two voices but features invertible counterpoint, as well as a middle entry in which the subject and countersubject appear in inversion and a short canonic stretto.”
The short work will feature Pączkowski's custom-made gloves with accelerometers. The devices send wireless signals to a computer where the sound can be manipulated in real-time by both performers.
“I participate in Immersion Composition Society, a spontaneous society started in California I believe; now there are 'cells' all over the world.
Usually once a month, our group of composers choose a common day on which to compose as much as possible individually during the course of one day with the objective of composing 20 pieces. The objective is to generate ideas, not to attain perfection. We then meet at the end of the day, and share the results. It's extremely interesting and inspiring!
I'll present two of my 'instant' songs, and talk about the compositional ideas and processes I've developed while participating in this crazy monthly series.”
“The Tambourine Q[x]tet is not much more than it's title suggests: an idea that arose during a conversation about something else, followed in a synaptic instant by the realization that we could put it together quite easily. I will be joined by my fellows of Banned Rehearsal, an improvisation workshop/open-sound-laboratory/ensemble that has been working together since June of 1984: Karen Eisenbrey, Steve Kennedy, Aaron Keyt, and Neal Kosály-Meyer.”
“I've been composing for only a few years—since retiring from a non-musical tech field. My style is still in flux, but is primarily tonal/modal, often using Eastern European folk modes (e.g, the Hungarian minor mode, double harmonic mode, etc.), and occasionally using Balkan dance rhythms.
My Five Bagatelles for Piano, the first 3 of which are being presented at the Salon, are not typical of my compositions. They are mostly tonal but avoid traditional tonal harmonies. Instead, they use techniques like planing augmented triads (in #1), quartal chords (in #2), etc. #3 reverses this and uses traditional harmonies but has an ambiguous tonal center. #4 & #5, (not yet ready for presentation) use non-standard harmonies.”
The sea like a vast silvered mirror
reflects the sky like a sheet of zinc;
distant flocks of birds make stains
on the burnished pale grey background.
The sun, like a round, opaque window
with an invalid's steps climbs to the zenith;
the sea wind relaxes in the shade
using its black trumpet as a pillow.
The waves that move their leaden bellies
seem to moan beneath the pier.
Sitting on a cable, smoking his pipe,
is a sailor thinking of the beaches
of a vague, distant, misty land.
This sea-dog is old. The fiery beams
of Brazilian sun have tanned his face;
the wild typhoons of the China sea
have seen him drinking his bottle of gin.
The iodine and saltpetre foam
long has known his ruddy nose,
his curly hair, athletic biceps,
his canvas cap, his blouse of drill.
Surrounded by tobacco smoke
the old man sees the far off misty land
for which one hot and golden evening
his brig set out with all sails set ...
The siesta of the tropics. The sea-dog sleeps.
Now the shades of grey enfold him.
It is as if an enormous soft charcoal
rubbed out the lines of the horizon's arc.
The siesta of the tropics. The old cicada
tries out his senile, raucous guitar
and the cricket strikes up a monotonous solo
on the single string of his violin.