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Papillon and the Dancing Cranes, for 3 Constructions Cranes and ensemble. Self-Portrait, for me Princess Nightmare Moon, for violin, clarinet, piccolo, piano, percussion, electronics 35 Degrees, for 2 assistants, electric guitar, keyboard, percussion, electronics, video Elpis, for 2 sopranos, 3 assistants, soprano saxophone, french horn, cello, percussion, keyboard, electronics, video Words to Sleep By, for voice, saxophone, basson, electronics The Portal, by and for On Structure Song for Matilda & Me, for clarinet and electronics Child of Chimera, for drumset, cello, piano, electronics An Economy of Means, for miniature drumset and electronics The Colors Don't Match, for voice, piccolo, clarinet, violin, percussion, electronics 2.5 Nightmares for Jessie, for cello and two assistants Wee Robot, for 4 disklaviers and electronics A Case for Dysfunctional Persistence, for piccolo, oboe, clarinet, 2 violins, 2 basses, trumpet, trombone, tuba, accordion, percussion, piano/sampler Second Nightmare, for KIKU, for violin and two assistants Vexed, for pic, Eb clar, vln, vcl, 2 perc, pno, harp, sampler, video Twistisch II, for two performers Nightmare for JACK (a ballet), for string quartet Panik(bread), for two percussionists and 2 pianists Twistisch, for two performers Bahnhof,
for voice and electronics On Silence, for two performers
Strange Attractors, for piccolo, percussion, and electronics Uncanny Valley, a monodrama Nystagmus, for two performers Symbiosis II,
for violin, cello, piano, and computer Symbiosis I,
for tape and performative lasers nonlinear interface, for flute, violin, cello, percussion, computer filament, for flute, violin, cello, percussion, sine waves ether
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Bahnhof for voice and electronics "Bahnhof" = train station The construction of this piece found inspiration in the joys and tribulations of traveling, and the internal and external sounds associated with those categories. Fevered panic and stress mixes with calm, collected perpetual motion to describe the many sides of a single location, or many locations shaped by one perspective. The singer wears fancy long white gloves equipped with switches on the fingertips to trigger samples. This elementary technique provides a theatrical context which transforms the singer into a cyborg from the 20s, manufacturing sounds both from her mouth and her hands. This piece is written for and dedicated to Maria Stankova. The electronics use exclusively pre-recorded samples of her voice.
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