Pub Year: 2016

Point.B

Point.B is short for pointillistic Beethoven. Written for the students at Greenwood Music Camp, on a program that included Beethoven’s Fourth Symphony, it’s a sort of messed up data visualization that refracts the delightfully lumbering Furtwängler recording through a pointillistic Reichian lens.

Many thanks to the conductor Ben Rous for advice and wisdom while I was making the piece.

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Point.B is part of my ongoing project A Book of Days. You can listen to a recording of the premiere by visiting 8 August.

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I think the piece works best on a program that includes Beethoven’s Fourth Symphony, but of course I’m open to you programming it any time you like!

Here’s a score of the piece: for a set of performing materials, please click one of the buttons below, with my thanks for your support of this very low-key way of publishing.

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Where Your Treasure Is: Mistake

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.

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The piece 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.

 

Thank you for supporting this low-key way of publishing!

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What Justice Looks Like

What Justice Looks Like was written for Payton MacDonald to perform at South Pass City as part of his Sonic Divide project. Esther Hobart Morris (1814-1902) served as Justice of the Peace there in 1870, during the Gold Rush, right after women were given the vote in Wyoming Territory. After her term was over, she had her husband arrested for assault and battery. She eventually left both him and South Pass City, becoming an activist for women’s rights nationally.

What Justice Looks Like is part of my ongoing project, A Book of Days. You can listen to my recording by visiting Valentine’s Day, which is the day when Esther was sworn in as Justice of the Peace.

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I think you want to think of this piece as an intimate invocation to Esther. You’ll want to find the transposition that lets both the lowest and the highest notes of the (rangy) vocal line be vulnerable and loving. You are welcome to do the piece slower (or faster) than the marked tempo if you like, and you don’t need to stick too precisely to the notated rhythms as long as the phrases stay coherent.

You can do it as a solo vocal piece, or you can invent a rhythmic accompaniment that helps you express the piece, adding extra bars of rest between verses for improvisational flourishes as you prefer. If you like a drone, feel free to use one. For the demo, I used Henry Lowengard’s excellent iPhone app, Srutibox, in just intonation mode. And I added a couple of totally optional samples from “Suffragette City”, which I’ll send you if you want them.

For performing materials, please click one of the buttons below, with my thanks for your support of this very low-key way of publishing:

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Farther from the Heart

Oh, I’m sad for never knowing courage,
And I’m sad for the stilling of fear.
Close to the sun now and farther from the heart.
I think that my end must be near.

I linger too long at a picnic
’cause a picnic’s gayer than me.
And I hold to the edge of the table
’cause the table’s stronger than me.
And I lean on anyone’s shoulder
Because anyone’s warmer than me.
Jane Bowles

I have been mulling over this 1942 poem by Jane Bowles since I first encountered it in 2000. I think the poem is unbearably sad: the embodiment of a specific kind of mid-20th-century female unhappiness. I do not live this life, but I am very conscious of having escaped it.

The song showed up unannounced one day while I was in residence at Ucross in the spring of 2016.

Farther from the Heart is now part of a song cycle called finish what I haven’t started, commissioned by the Brooklyn Art Song Society, which includes songs with texts by Lucille Clifton, Anne Sexton, Adrienne Rich, and June Jordan.

Farther from the Heart is also part of my ongoing project, A Book of Days. You can listen to Devony Smith and Danny Zelibor’s performance from April 2025 by visiting 3 November.

 

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For performing materials, please click one of the buttons below, with my thanks for your support of this very low-key way of publishing:

DETAILS