Elliott Grabill

composer | educator

Category: Uncategorized

List of works

Below is a list of my best work.

 

Instrumental

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

Endurance, for Pierrot ensemble, 9′ (2017)

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

Katharos, for piano, 11′ (2010)

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

 

 

 Electronic

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

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

Acousmatica, for fixed media, 12′ (2015)

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

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

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)

 

Choral and Vocal

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

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)

 

Orchestral

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

 

 

 

 

 

Nivāhayati

“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

 

 

 

Musical Samples and CV

I am a composer who writes instrumental, vocal, and electronic music, often combined with another medium like film or dance.  As a composer, I am interested in sound, movement, gestures, and how the listener perceives them both concretely and emotionally.  In much of my work, I take sounds from real life, sculpt them into new abstract musical objects, and string them into an aural narrative.

 

Below are short excerpts of three of my pieces: Pranayama, Kings Highway / Stillwell Ave., and Crnogorska.  Click these links to watch these pieces in full.

 

 

Please click the link below to view my curriculum vitae.

ElliottGrabill2014CV

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