for string sextet (two violins, two violas, two cellos)
Water is emotion, and every body of water I visit makes me feel a different way. Lake Pontchartrain is a shallow estuary in Louisiana just wide enough that one cannot see the other side. To get to New Orleans, one must travel across its waters on a freeway or train elevated just above the surface. On a cloudy, rainy day, the gray waters of Lake Pontchartrain evokes feelings of sadness, serenity, intimacy, and longing. The piece begins and ends like the lake’s gentle, unending waves: instruments play long single notes at different times, creating a chord progression that sways between dissonant clusters and tonal harmonies. The quiet middle sections are inspired by nature: wind rustling, birds chirping, and stillness. It features sparse triadic gestures, microtones, and cellos bowing on the bridge.
“Darl” is named after the character from William Faulkner’s “As I Lay Dying.” A well spoken, soul searching character, Darl’s frustration over the way his family copes with his deceased mother leads him on a downward spiral, culminating with his confinement in a state mental institution. The piece features high pitched, jarring, accented sections indicative of his turmoil, coupled with a transcendental ending built off an electronic looping structure that spectrally shimmers with the aid of several flangers. In addition, the patch uses pitch shifting, noise, delay and ring modulation; the clarinet writing features microtones and trills that utilize alternate fingering.
Rust Belt is about an region of the United States and its culture. I wrote Rust Belt for the Meridian Arts Ensemble to perform at June in Buffalo in 2015. I was inspired to write the first movement, Waterfront from sitting by the harbor, listening to oil tankers and feeling the wind brush up against my face. In Trucks, I also explore the sounds of machinery, assigning each player a limited amount of pitch variation, but ask the players to create pulses at different tempi.
Men and Music have a contrasting feeling. Unlike the minimalism of the first and third movements, these selections are busy and densely polyphonic, with fast, chromatic runs, glissandi, and occasional tonal sections.
I have composed several pieces “about” specific places, using sounds from these environments as a means to evoke the experiences, both aural and emotional, that one might have there. In Kings Highway / Stillwell Ave., I string together a series of gestures to create a musical autobiography of my one year living in New York City. I derived these gestures from sounds of the city and my apartment. Since I didn’t have an audio recorder, I “painted” them onto paper and made them playable on the piano instead. Like Van Gogh, who altered the realism of his paintings and added elements to express his own thoughts and feelings about his landscapes, my alteration from musique concrete to piano allowed me to stamp my own emotions onto my soundscape.
The audio comes from my introduction of an earlier version of the work to the audience. In addition to adding the audio element, I worked with Vin Grabill created a film version of Kings Highway using photographs I took of New York– in addition to the footage of me performing the piece at the Church of the Holy City in Washington, DC. The film was selected for the Rosebud Film Festival in 2012.