Seattle Composers' Salon

Keith Eisenbrey Corollaries A common trope of music criticism is the idea that the structure that generates, or that is presumed to generate, a piece should be perceivable and understandable by a listener. With new or difficult music this often arises in the form of a protest: “Nobody could hear that!”, followed by a detailed story of exactly how it could not be heard. The response is usually in the form: “I can”, followed by a detailed story of exactly how it could be, and of exactly how, presumably, it was, in fact, heard. Years ago, listening to some early Stockhausen or other, I realized that the least interesting aspect of it, for me, was the fact that it happened to be twelve-tone. I asked myself then why exactly it should matter that the generating structure (the chart) should be what we understand or perceive the piece to be. One of the underlying points made by Benjamin Boretz, in Meta-Variations: Studies in the Foundations of Musical Thought is the notion that carefull...

An evening of music and discussion with Seattle composers: Keith Eisenbrey Jeremy Shaskus Daniel Webbon Neil Welch Friday, November 4, 2016, 8 pm Chapel Performance Space 4649 Sunnyside Ave N, 4th Floor $5–15 suggested donation

Sheila Bristow "The Finding" and "Leap into Love", for mezzo-soprano, cello, and piano Two songs from a cycle-in-progress, using poems about ecstatic dance from many cultures. "The Finding" is a contemporary Canadian poet's vision of a Sufi dance experience; "Leap into Love" is from the writings of 13th century mystic, Mechthild of Magdebourg. Performed by composer/pianist Sheila Bristow, mezzo-soprano Melissa Plagemann, cellist Nathan Whittaker. sheilagailbristow.com Carson Farley Contrasts for piano, violin, flute, and cello carsonicsproductions.com Jessi Harvey "Pieces of the Puzzle" is the second movement of my piano work, Eden Untamed , inspired by a speech about the issues faced and burdens borne by the 20th century composer and dedicated to Scott Muller. Continuing on from the first movement, "Themes Amuck", one of the original themes is warped and split into multiple pieces, recombined, and...

An evening of music and discussion with Seattle composers: Sheila Bristow Carson Farley Jessi Harvey Ian McKnight Friday, September 2, 2016, 8 pm Chapel Performance Space 4649 Sunnyside Ave N, 4th Floor $5–15 suggested donation

Susan Maughlin Wood Sonatina for Violin and Piano, Parallel Plaid I. Stim II. Transist III. Off Script Spectratta "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...

An evening of music and discussion with Seattle composers: 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

Clement Reid “ 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.” Steve Escoffery 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 repr...