Mistake is one of a series of pieces called Where Your Treasure Is, about the slow disintegration of a painting I inherited. The painting is of an Irish dolmen, a burial mound, and I have placed it on a glacial erratic on my land in Vermont, where I am documenting its gradual decay into the landscape.
The text that inspires the piece is from James Joyce’s Portrait of the Artist as a Young Man:
You made me confess the fears that I have. But I will tell you also what I do not fear. I do not fear to be alone or to be spurned for another or to leave whatever I have to leave. And I am not afraid to make a mistake, even a great mistake, a lifelong mistake and perhaps as long as eternity too.
The piece is also part of my ongoing project A Book of Days. Please visit March 21st to listen to the piece, with a video by Emma Courtney.
Here is a score of the piece, which requires four keyboard players on three pianos (or electronic keyboards.) In addition, there is a drumset part, which can be improvised by a live player, or done as a pre-recorded track.
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Open Secrets was a semester-long project in spring of 1999 at RPI sponsored by Chris Jaffe, in which architect Malcolm Holzman and I worked with teachers and students in architecture and intermedia on “an investigation of the relationships between acoustics, architecture, and music and an exploration of spaces, both secret and revealed, natural and mediated.”
The core idea was to play with visually and sonically encoded versions of a text from Hebrews: “Now faith is the substance of things hoped for, the evidence of things not seen.”
It was a crazily ambitious and fun project! There’s a 1999-era website devoted to documenting our work together. It could use some updating, but it’ll give you an idea.
A musical translation of the Morse code version of the text was played by Kathy Supové on toy piano in an anechoic chamber hidden beneath a ramp.
You had to be there.
That score was turned into a cool little music video by Duff Dufresne, and can be seen and heard in A Book of Days, on 18 November. If you’d like to play the piece, in or out of an anechoic chamber, please get in touch with me!
It’s also possible to perform Well-Spent with two live violins along with the pre-recorded track. You can hear the duo version performed by Ron Blessinger and Mary Rowell by visiting April 19 in my ongoing project A Book of Days.
The Flood is a setting of a poem Robert Frost wrote in 1928, in response to the 1927 flood of the Mississippi River that destroyed a million homes, drove hundreds of thousands of people – mostly poor and African-American – north, and transformed America.
The Flood (1928)
Blood has been harder to dam back than water.
Just when we think we have it impounded safe
Behind new barrier walls (and let it chafe!),
It breaks away in some new kind of slaughter.
We choose to say it is let loose by the devil;
But power of blood itself releases blood.
It goes by might of being such a flood
Held high at so unnatural a level.
It will have outlet, brave and not so brave.
Weapons of war and implements of peace
Are but the points at which it finds release.
And now it is once more the tidal wave
That when it has swept by leaves summits stained.
Oh, blood will out. It cannot be contained.
My land in Vermont is just a few miles from where Frost lived for many years, and I felt what I imagine to be a parallel rage and impotence in response to Katrina.
The Flood is one piece in a projected evening-length project about floods and transformation, which will also respond to the ongoing tragedy of Katrina, the Biblical flood, and the Mississippi River and its place in American culture.
No Delight in Sacrifice is a short response to my least favorite masterpiece, The Rite of Spring. I’ve taken materials from Stravinsky’s dazzling work and re-shaped them to stand against the glamorization of killing in the name of higher powers and for the joy of renewal and rebirth that spring embodies. The bassoon begins the piece with a plainchant version of Psalm 51 that was my guide in this re-composition: “For you have no delight in sacrifice; if I were to give a burnt-offering, you would not be pleased.”
No Delight in Sacrifice was commissioned by the Vermont Symphony Orchestra in celebration of their 80th Anniversary Season, and was premiered in Burlington on 6 December 2014 on a concert that included The Rite of Spring.
No Delight in Sacrifice is part of my ongoing project, A Book of Days. You can listen to a recording of the premiere by visiting May 29th.
You can download a score of the piece here. You can purchase performance materials by clicking the link below.
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Machaut in the Age of Motown (2005) is a transcribed mashup of two pre-existing works: The Bells, written by Marvin Gaye (1970) as sung by The Originals, and Tels rit from the Remede de Fortune (1340) written by Guillaume de Machaut as sung by the Project Ars Nova Ensemble. It’s the fifth piece in a series called Machaut in the Machine Age, which I have been making every now and then since 1986 in response to the music and poetry of Guillaume de Machaut, the fabulous 14th century French composer.
Originally scored for soprano sax, clarinet, violin, bass, bells, vibes, piano, and drumset, I am happy to adapt the piece for your forces. You can download the score and listen to a live performance:
And you can listen to the original mashup of Marvin and Machaut on 7 November in A Book of Days.
Light up Your face began as a piece about the murder of Medgar Evers on 12 June 1963. Eudora Welty wrote a story the next night from the point of view of the murderer, who had not yet been identified. It has been hailed as an uncanny portrait of the killer, but it is wrong in one important respect. Byron De La Beckwith was not an impoverished nearly illiterate redneck, he was an upstanding middle class salesman and WWII veteran, who along with participating in the White Citizens’ Council and the Ku Klux Klan, regularly attended the Episcopal Church in Greenwood, MS.
That last fact is the inspiration for the piece, which includes an excerpt from Eudora Welty’s story against my harmonization of the chant version of the refrain of Psalm 80: Light up Your face, that we may be rescued.
After three trials, Byron De La Beckwith was finally convicted of first-degree murder in 1994.
The video for Light up Your face is a collaboration between Bradley Wester and Matt Petty. Bradley works with an image of Medgar Evers’ home in Jackson, Mississippi, and the carport where he was killed. Matt Petty’s contribution is a meditation on the murder of James Craig Anderson in Jackson in 2011, a murder committed by a group of white high school students from the neighboring town of Brandon. The students were convicted of their crime and are currently serving time in federal prison. The family of James Craig Anderson asked that the murderers be spared the death penalty.
Light up Your face is part of my ongoing project, A Book of Days. You can watch and listen to the piece by visiting June 12th.
The original version of this piece is for actor, singer, and piano. You can download it here. The piano part can be replaced by chamber ensemble or chorus. If you would like a version that works for your ensemble, let me know your needs. Please get in touch with me for more information about showing the video as part of your performance.
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