Elliott Grabill

Chamber

Reed Quintet No. 2, 30′ (2023)

Reed Quintet No.1 “Heroes and Villains,” 25′ (2022)

Oboe Trio No. 1, 9′ (2022)

Sonata for Flute, Percussion, and Electronics, 12‘ (2021)

Flowers of Resurrection, for flute, violin, piano, and cello, 5′ (2021)

Deep Purring, for reed quintet and electronics, 3′ (2020)

The Dragons are My Children, for cello and bass, 2′ (2020)

All the Little Kittens, for flute and viola, 3′ (2020)

Calling into a Cave, for reed quintet and electronics, 10′ (2019)

Song of Despair, for clarinet, violin, cello, and piano, 8′ (2018)

Mountain Piques, for flute, guitar, cello, and electronics, 25′ (2018)

Lake Pontchartrain, for string sextet, 9′ (2017)

Endurance, for Pierrot ensemble, 9′ (2017)

Escape, for bassoon quartet, 7′ (2016)

Responses, for clarinet sextet, 3′ (2015)

Rust Belt, for brass quintet, 12′ (2015)

EP, for trumpet and bassoon, 7′ (2015)

Song Cycles

Grief Never Leaves, for soprano, oboe, and piano, 10′ (2020)

Teacher Tales, for mezzo-soprano and piano, 20′ (2019)

Songs of the Working Poor, for soprano and large ensemble, 10′ (2018)

Orchestral

Union Dues, for wind ensemble, 10′ (2020)

When I Have Fears, for baritone and orchestra, 8′ (2016)

Choral

Di Heilich Shrift, for mixed chorus, work in progress (2020 – )

I Love Winter, for two sopranos and alto, 3′ (2015)

Making the Year, for mixed chorus, 3′ (2014)

Nantucket, for men’s chorus, 2′ (2008)

Young Sycamore, for men’s chorus, 2′ (2008)

Solo

Birds of Lethe, for alto saxophone and electronics, 6′ (2021)

Hide and Seek, for alto saxophone and electronics, 7′ (2021)

Mother Earth, for bassoon and live electronics, 7′ (2019)

Burnt Letter, for piano and live electronics, 4′ (2018)

Enkidu, for tenor saxophone and live electronics, 17′ (2017)

Urban Sunrise, for alto saxophone and live electronics, 8′ (2017)

Written on the Train, for solo violin, 4′ (2017)

Darl, for clarinet and live electronics, 10′ (2016)

Alarm, for flute and live electronics, 9′ (2016)

Pluto, for clarinet and live electronics, 30′ (2015-2017)

Ocean Mermaid, for MIDI controller, 3′-7′ (2010 – 2017)

Wildflowers, for MIDI controller, 4′ (2013)

Katharos, for piano, 11′ (2010)

Kings Highway / Stillwell Ave., for piano, 8′ (2007)

Fixed and Multimedia

Take Me to the Sea, for fixed media, 5′ (2017)

Acousmatica, for fixed media, 12′ (2015)

Snowy Shore, for fixed media and narrator, 3′ (2014)

After the Storms / Sapa, for fixed media and dance, 9′ (2011)

Pranayama, for fixed media and video, 25′ (2010)

Un Jardin, for fixed media and video, 15′ (2009)

“Nivāhayati,” for flute, oboe, clarinet, horn, bassoon, two violins, viola, cello, and double bass.

“Nivāhayati” is a collage of notes, fragments, gestures, and phrases. Its structure explores buildup, growth, and decay, imitating both human form and nature.

The word “nivāhayati” is taken from Sanskrit and means “set to motion.” The piece is probably my most complex instrumental work, with ten solo parts interacting with one another. The work attempts to capture the experience of time as I interpret it, highlighting its dualities: activity versus pause; history versus present; linearity versus cycle; and cause versus effect.

The also piece focuses on my interest in human dynamics.  While writing it, I sometimes pictured a party scene in which the musicians converse with one another, sometimes arguing, sometimes finishing each other’s sentences.  I imitate vocal inflections using glissandi and blue notes.  With the range of timbres available, I investigate the personalities of each instrument and imagine how, if each were a person, they would interact with one another.

I wrote this piece between August and November, 2014. The score can be viewed at issuu.com/elliottgrabill. If you are an ensemble interested in performing this work, please email me at thetruebadour@gmail.com.

https://soundcloud.com/elliott-grabill/nivahayati