Machaut a Go-go adapts both the music and the lyrics of Machaut’s virelais “Moult sui de bonne heure nee” to the go-go style. Go-go is a jazzy offshoot of rap that fourished in Washington, D.C. a while ago. Chuck Brown and the Soul Searchers were my main inspiration in adapting the style. Machaut a Go-go was written in 1991 for Kitty Brazelton and her nine-piece band, Dadadah. Kitty made the translation and adaptation of the Machaut lyrics, as well as helping immeasurably to shape the piece. Many thanks to her and the other members of Dadadah for their work and musicianship.
Machaut a Go-go can be performed with an introduction: a performance of the original virelais (for voice and harp or guitar) that is rudely interrupted by the drummer, who leads in the other musicians. Here is a scan of the original score to use if you want to do this introduction.
Machaut a Go-go is part of my ongoing project, A Book of Days. You can listen to a Dadadah’s recording by visiting May 7th.
You can download a score of the piece here. You can purchase performance materials by clicking the link below.
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Walking Music was originally written for an opera based on a Stephen King story called The Man in the Black Suit. This music accompanies a boy’s walk to the stream where he unexpectedly meets the devil. It’s a decorated arrangement of an old hymn of the sort the boy might have been humming as he walked. The hymn, called The King of Love, is a reworking of Psalm 23, set to an old Gaelic tune.
Several years after making the piece, I made an arrangement that can be played as part of the River Project. Thankfully, I did not meet the devil on my journey down the river(!) But I feel that the music captures something of the innocence I sometimes felt on the journey.
Walking Music is part of my ongoing project, A Book of Days. You can listen to a live performance by BRIM and the Guidonian Hand visiting May 11th.
The original version of this piece is for two singers, two guitars, chorus, string quartet, and optional stream ambience. The BRIM and Guidonian Hand version is for singer, violin, guitar, trombone quartet, and piano. You can download a score of that version here. If you would like a version that works for your ensemble, just let me know your needs.
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Machaut in the Machine Age I: Douce dame jolie is the first of a series of pieces that use the music of Machaut as a jumping-off point for various juxtapositions of his art with mine. This one was originally written in 1986 for Daniel Druckman (percussion) and Alan Feinberg (piano) as an opener for their duo recitals.
The Tisch School of the Arts commissioned an arrangement of the piece for flute, Bb clarinet, violin, cello, piano, percussion in 1990 so that choreographer Monica Levy could use it for a dance work.
Machaut in the Machine Age I: Douce dame jolie is part of my ongoing project, A Book of Days. You can listen to the ensemble version by visiting March 17th.
Here are scores for the two different versions of Machaut in the Machine Age I.
original duo version (pdf)
chamber ensemble version (pdf)
When you order the performance materials by clicking the button below, please let me know which version you need. The instrumentation can be changed beyond the two versions above, so talk to me if you have specific needs for your ensemble.
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The inspiration for Michael’s Spoon was this text from the end of J.M. Coetzee’s 1983 novel The Life and Times of Michael K.
And if the old man climbed out of the cart and stretched himself (things were gathering pace now) and looked at where the pump had been that the soldiers had blown up so that nothing should be left standing, and complained, saying, ‘What are we going to do about water?,’ he, Michael K, would produce a teaspoon from his pocket, a teaspoon and a long roll of string. He would clear the rubble from the mouth of the the shaft, he would bend the handle of the teaspoon in a loop and tie the string to it, he would lower it down the shaft deep into the earth, and when he brought it up there would be water in the bowl of the spoon; and in that way, he would say, one can live.
Michael’s Spoon was originally written as an all-electronic piece which is the second movement of the five-movement piece The Garden of Cyrus. That piece was released on my 1998 CD, Overstepping.
Michael’s Spoon is part of my ongoing project, A Book of Days. You can listen to the electronic version and watch Mechele Manno’s video by visiting February 9th.
The chamber ensemble version of Michael’s Spoon was originally made in 2004 for performances by the Robin Cox Ensemble. You can download a score of that version here. You are welcome to substitute instruments as desired for your ensemble. Alternatively, the piece can be performed by a solo player on the cello part (or shared by low brass), with all the other parts pre-recorded. Here’s a performing score of the two-trombone version. When you order the performance materials by clicking the button below, let me know what instrumental alterations you need. Thanks for your interest in Michael’s Spoon!
I’ve posted a new piece called Play Like a Girl, a set of eight keyboard variations on the Bulgarian Women’s Chorus standard, Kaval Sviri. Some work well on grand piano, others on toy piano or celeste or harpsichord or other “girly” instruments, as you like. The variations can be played simultaneously or successively in any combination for a total of eight factorial versions of the piece. I am posting twelve different versions of the piece in A Book of Days, on the 13th of each month. You can listen to those to get a sense of the possibilities.
Play like the girl you are (or sometimes wish you were!)
Cave was commissioned by the St. Louis ensemble Synchronia for a program investigating the theme of America in Y2K. The text is by Eileen Myles. It is the third piece in the last year I have been asked to write on this subject*, and I’m noticing that I know less about the meaning of the millennium, or the future in general, the more I’m asked to write pieces about it. I have, however, had several excellent conversations about souls with Ansel Elgort, who is six, while I’ve been writing this piece, so I dedicate it to him with love and thanks for his friendship.
Cave is part of my ongoing project A Book of Days. Please visit July 3rd to hear a recording.
The piece was originally made for flute, clarinet, violin, cello, keyboard (or piano and vibes), spoken voice, and electronics. There is also an optional video by Clifton Taylor.
Here is a score of the piece, and here’s a set of parts. I’m open to you adapting it for your ensemble; let me know what you have in mind. If you wish to use the original DX7 patch, download this zip file of the patch in various formats that may be useful for re-creating the patch.
I will send you the pre-recorded track when you order the piece by clicking the paypal button below.