Skip to main content

March 2018 Previews

Sarah Bassingthwaighte

H20, for soprano, flute, and guitar

My piece is called H2O and will be performed by the Ecco Chamber Ensemble: Sarah Bassingthwaighte, flute; Stacey Mastrian, soprano; Mark Hilliard Wilson, guitar. The piece is written in graphic notation in the shape of a circle and the players rotate the circle as they go through 6 different forms of water: Snow, Droplets, Rain, Storm, Frost, and Ice. There is a lot of guided improvisation used by all of the players. It will be performed on April 21st at SOMA Towers as part of KING-FM’s Resonance Series.

Gavin Borchert

Three songs

  • Sagrada noche (4’)
  • Cuando en el sol (4’)
  • Una vez (7’)

Gavin Borchert, piano; Michael Monnikendam, baritone

Some time ago I discovered the song “Nacht und traume” by Schubert, which is now my favorite of all of his. Researching it I stumbled on a beautiful (anonymous) Spanish translation of Matthaus von Collin’s original German text, which itself seemed to beg to be set. To go with it I chose Spanish translations of the words of two other songs I love: “Beau soir” (Debussy/Paul Bourget) and “Mondnacht” (Schumann/Joseph von Eichendorff). All three, obviously, address the subject of night.

Brooke Richey

Nocturne no. 1 and no. 2, for piano; Paradox for String Quartet

I write most of my music with white space. I don’t determine a key, time signature, let alone form, until I have a few phrases of melody transcribed. Nocturne No. 1, “Melodie” was written with a free hand. I wrote this piece, solely based off the tones and colors I wanted to hear. When I realized that the work was done was when I categorized it as a nocturne. And like the night, the music in "Melodie" is lead by itself, crawling through the dark until it finds sparks of light from the ground it encompasses. Just as the music comes to a close, night has found its way, and reached its end.

Nocturne No. 2 was written with the same design techniques as No. 1. Building from its first motif of triplets, the grace-notes serve as a foreshadowing for the abrupt bass line that will carry the second melody. Emphasized in this nocturne is the driving darkness quality of night as well as the peaceful quiet that comes with sleeping souls. Ultimately, the bass and "grace-note" theme take over to create a comically ironic ending. For those who work an 8–5, maybe you can understand why.

Paradox is the first piece for strings I’ve ever written. It was created during a time of my life where my only focus was to better my skill at composing. Created from a tone-row that was written freely, the piece was given its name to be a testament of individuals overcoming differences to work together. You can hear that the start of the piece begins with each instrument playing in a different octave, free-bowing and a little jaded with time. By the end of the piece the music is very close. Intervals and rhythm bring the voices together, bringing about a paradox of an experience, given with where they first started.

S. Eric Scribner


The piece is electronic, with no “live” performers. It is two realizations of a modal score without meter, played on the piano, and then multi-tracked with the second version starting at different time intervals. The time intervals grow closer together, so the piece gradually “converges”. There is also an interlude, made from multi-multi-tracking of the same score (originally played by Neal Kosaly-Meyer, guitar). Hundreds of separate multi-trackings are possible; at the Salon, I will play four of them plus the interlude.

Popular posts from this blog

May 2018 Previews

Jay HamiltonMy Muse, & Equal Temperament, cello and pre-recorded dialogueThese two pieces are part of a work The End and Then…? presented on June 23rd at Velocity Dance Center Seattle. The show is mostly dance with music/dialogues begins with a funeral ends with a murder….and some of it funny. This is a one person performance (7 parts) I will be dancing during in the other 5 pieces BorchertMazurka, for piano
Berceuse, for pianoPeter Nelson-KingThe Magpie’s Shadow, for solo pianoThe Magpie’s Shadow takes its inspiration from a poem sequence of the same name by Yvor Winters. Inspired by a line by Rimbaud - O saisons, o chateaux! - each poem is a single line of six syllables, a form invented by Winters. 28 poems are arranged in three sections, and my work has 28 aphoristic pieces based on each poem and grouped in the same section plan and same order. The poems depict mysterious, symbolic scenes in nature, possibly a dream landscape the narrator travers…

January 2018 Previews

Carson FarleyFilm Music, for piano, cello, and fluteFilm Music was composed for a commercial video project for sculptor R. Carlson. Originally scored for piano, string quartet, and synthesizer, this version has been arranged for piano, cello, and flute. Though I am usually a structural composer, this piece was written quickly and entirely from a visual perspective to conform to the visual content of the video project. It has a very simple surface texture with themes, transitions, and modulations from section to KeytMusic for Wallace, for pianoWhile living in Somerville, MA for a couple years, we adopted an old, neglected spinet piano. We named the piano Wallace. I wrote an album of short, mostly simple pieces for Wallace, a few of which will be played at the Salon.Ian McKnightThe Trees Awaken, for alto flute, cello, and pianoThis tone poem describes a sleeping forest that comes to life with dancing tree folk before returning to its slumber. …

July Salon Previews

Susan Maughlin WoodSonatina for Violin and Piano, Parallel Plaid
I. Stim
II. Transist
III. Off ScriptSpectratta
"We are all on the spectrum."The inner world is complete unto itself, but invites understanding. I am adding a video element to my new sonatina Parallel Plaid to highlight ways in which people* anywhere on the ASD and so-called ADHD spectrums (i.e. everyone) both identify with, and to some extent are, ourselves, wind-up toys going about our lives single-mindedly. Focus is absolute, but fleeting in its direction. Intensity is laser-sharp, but short-lived and not easily controlled. *the complexity of people defies labeling, but insofar as labels exist, the spectrum model (think prismatic solid circle as opposed to single line) most closely represents our differences within a given shared aspect of humanity. For every aspect, the spectrum model is inclusive and shows that everyone shares certain traits and only differ in the degree to which they possess those traits a…