And here’s a video of David and Rachel’s beautiful performance of my Violin Sonata
—The amazing short story writer Tim Horvath interviewed me about composing Invisible Cities. At least it started that way, but found itself wandering into all sorts of divergent topics in and around composing and literature. It’s published on the Tin House blog.
–Sleeping Giant spent a week in Albany preparing for our “Requiem Re-imagined,” a rewrite/deconstruction of the Mozart Requiem with David Alan Miller and the Symphony. It managed to get not one but two positive reviews in the Times Union.
A little note on my new violin sonata which premieres this coming February 6th at Subculture in NYC.
Exciting January! Lots of performances coming up this month.
The Cornell Glee Club are taking my new choral piece they commissioned Not One Word based on texts by Ryokan on tour throughout the North East, including performances in Albany, Philadelphia, Baltimore, Washington DC, New York, and more. Dates and details.
Several performances of Memory Palace in NYC, including Owen Weaver performing at Cameo Gallery in Brooklyn on January 12, and two staged performances by Ian Rosenbaum at the American Irish History Society in concerts hosted by the Metropolis Ensemble (Jan 23 and 26).
Vicky Chow gives the Boston premiere of Hoyt-Schermerhorn on January 17 at Northeastern University. And a chamber group featuring mezzo Elspeth Davis and Ian Rosenbaum are performing I will learn to love a person in Park Slope in Brooklyn on January 11.
In February, the amazing duo of Rachel Lee Priday and David Kaplan are premiering a brand new fifteen minute Sonata for Violin and Piano on February 6 at Subculture in NYC in a concert presented by the MATA Festival. The amazing Fromm Foundation at Harvard provided the funds to commission the work.
And last but not least, this June sees the premiere of Hand Eye, a new collaborative work that the Sleeping Giant Composer Collective wrote for the ever intrepid eighth blackbird! More on this soon, but here’s a short teaser trailer. My barrage of notes opens the video.
I’m going to try to keep this page fairly updated and fairly concise. Both seem challenging to me in general, but I’m really working on it.
The Invisible Cities album is doing quite well. We’ve gotten favorite write-ups in the LA Times (“The music stays with you”), the Boston Globe (“gorgeous, dreamlike”), Thought Catalog (“You’ll be hooked before you hear the first note sung.”), Stage and Screen (“this generation’s answer to Pink Floyd’s Dark Side of the Moon”), and was Q2’s album of the week. Anyway, you get the idea. Lots of nice things.
There’s lots of really exciting stuff coming up in the next few months, but I’ll just highlight a few things. I received a Fromm Foundation Commission from Harvard University for a new violin sonata for Rachel Lee Priday and David Kaplan. That piece—which I am furiously writing—will hear light of day on February 6 at Subculture in a concert presented by the MATA Festival—not only that, but Rachel, Dave and I curated the whole thing together so it features some of our favorite pieces.
Ian Rosenbaum—stellar percussionist and great friend—and I head up to EMPAC in January to record and video my percussion and electronics piece Memory Palace. We’re collaborating with the amazing director Mark DeChiazza to create a multimedia experience of the piece. It’s all very fun.
AND… The months ahead feature the premieres of new pieces by eighth blackbird, the LA Phil, and the Albany Symphony. More on that SUPER soon.
Part I: The album. So first things first, I’m unbelievably proud to share that the Invisible Cities album will be available on November 4th from The Industry‘s new venture, The Industry Records. The album was produced, mixer, and recorded by the sonic magician, Nick Tipp, who was also the lead sound engineer in the live production. The entire original cast and orchestra returned for the recording session at Citrus Arts in Glendora, CA. And after hours and hours and hours of editing and mixing, it’s here!
You can pre-order both the digital edition and the absolutely gorgeous limited-edition CD/Memory Box directly from The Industry right now. Starting on the 4th, the album will be available through all the normal outlets (iTunes, Amazon, the dreaded Spotify, and more)!
But wait there’s more. There entire album is currently streaming at KCRW. Not only that, but I wrote a little bit about the whole process at The Industry’s blog, which features photos and a little more of an “insider’s” perspective on the whole process. Finally special thanks must be given to The Aaron Copland Fund for Music, New Music USA, and Elizabeth and Justus Schlichting for providing the support to make this album possible.
Part II: Tha Times. So, some other exciting things that have been happening. My mug appeared in the local paper recently:
Let me explain: My friend Austin Wintory curated a really interesting concert, featuring music from concert music, film, and video games. I liked it. Here’s the article. They were kind enough to stream my piece How to Breathe Underwater.
Part III: New works! If you’re still reading, I just want to make a few notes about what else is happening in my composing life. Last weekend, the Cornell Glee Club premiered a new commission entitled “Not One Word” based on a text by the Zen monk and hermit, Ryōkan. I was lucky enough to go up to Ithaca and work with them. They are an amazing and relentlessly enthusiastic group led by the amazing Robert Isaacs, who is working really hard to bring new and exciting commissions to the group every year.
Later this season will be a rush of premieres: the amazing eighth blackbird will bring Hand/Eye—a collaborative project composed with Sleeping Giant—into the world this coming March in Richmond. It will be given its professional premiere in June at the Great Lakes Music Festival. My new Violin Sonata commissioned by the amazing duo of Rachel Lee Priday and David Kaplan, will come into this world in March in Florida. They’ll be touring the piece next season as well. Sleeping Giant has also been hard at work on two really cool projects with the Albany Symphony. In March, we’ll present a recomposed version of the Mozart Requiem. And in May, the Albany Symphony’s rogue band The Dogs of Desire will premiere a new collection of songs featuring Theo Bleckmann. More on both those collaborations here.
And last but not least, the LA Philharmonic will be giving the premiere of a new piece for soprano and chamber orchestra featuring Hila Plitman and conducted by John Adams. I’m writing it right now! There’s triangles.
HOKAY, that was a lot. I promise to update more periodically, and less densely.