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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Making Hey, for spoken voice, piano four-hands, bass, and as many percussionists as you’d like, was written for a festschrift published by Open Space Magazine celebrating my composition teacher, JK Randall.
The text for Making Hey is a gratuitously excellent piece of anonymous work that arrived in an email offering to increase my penis size or refinance my mortgage. I no longer remember which, since I lack both. (This method for confusing spam filters is called Bayesian poisoning, and there’s some pretty cool math involved, I recommend checking it out.)
I have set the text (unchanged except for punctuation) to an adaptation of a two-piano piece called Making Hay, which I wrote in 1980 and dedicated to Jim at that time. This new piece starts out with the same student piece, but gradually clarifies and simplifies it in response to the bass and percussion line I have added all these years later.
The bass and percussion are an adaptation of a Gnawa performance I’ve totally fallen in love with. You can listen to it at this Youtube link:
Making Hey is part of my ongoing project, A Book of Days. You can listen to a recording of the piece by visiting June 16th.
You can download a score of the piece here. The percussionist(s) should come up with their own interpretation of Gnawa rhythm when performing the piece. You can purchase performance materials for the other instruments by clicking the link below.
And thanks for supporting this low-key way of publishing!
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.
FlamingO is a sixteen minute piece for three simultaneous bands: the first, on your left, is the wolf chaser band, named after the whirling Inuit instrument (given to me by Robin Lorentz) played by the percussionist of that band at the beginning and end of the piece. The wolf chaser has also been recorded and electronically transformed: slowed way down in speed without changing the pitch, and then ring-modulated and otherwise warped, to create a bed (played back on CD) for the whole piece. The remaining wolf chaser band members focus on arpeggiations which are all motivic outgrowths of the sound of the wolf chaser. (For another piece that works with this same source material, see Wolf Chaser.)
The flamingo band (center) similarly gets their music from a sampled source: they are playing with sampled flamingo honks (given to me by Stephen Erickson), and their take on the flamingo sounds tends to be homophonic.
In contrast to the arpeggiations and homophony of the other two bands, the “metalastic” band (right) plays canonically inflected music, taking as their primary starting point an unidentified bird sample (given to me by Marilyn Ries.)
Each band takes a solo, and when they are all playing together things are complicated in a way I find more fun than straight cacophony: you can still hear the characteristic musics of the three bands, and you can choose what to focus on, and depending on your choice, all the other stuff seems to support you.
FlamingO was commissioned by Eric Grunin and the Crosstown Ensemble and premiered by them in 1995. It was revised in 2004 for a performance by the American Composers Orchestra. It was recorded in 2005, with the support of Frederick and Alexandra Peters, for my New World Records CD, Tell the Birds.
Here is a score of the piece in pdf format. For performance materials, please contact me.
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In 1989, the cellist Jeffrey Krieger commissioned Born Dancin’ to be the maiden voyage for his new electric cello. He recorded the piece in the very early 90’s, and it was released on cassette. I have lost the original DAT master, so the audio below is a low quality transfer from cassette.
The story the piece is based on is called The Baby, and it’s by Donald Barthelme, who everyone forgot about for a while but he seems to be back lately, which is a very good thing. On the recording, my brother Spencer is reading the story.
Here’s a score of the piece. When you purchase the materials below, I’ll supply you with the drum machine tracks and more information about cello processing.
The image I’ve used for this page is by an artist named Yeondoo Jung, who has made a series of photographs based on children’s drawings. I found his photographs via google images, which took me to a blog called Born Dancin’, which has an excerpt from the Donald Barthelme story as its tagline and an entry about Yeondoo Jung’s project. She (I’m guessing Born Dancin’ is a she) writes about lots of interesting and entertaining things.
Some days I really love the internet.
You are warmly invited to support this very low-key way of publishing.
Armon is the closing section of a larger piece called Untitled: Interior, which was written to accompany a solo dance by Stephanie Nugent. Armon is the name for the plane tree in Hebrew, and the word also means “naked” or “peeling off”. The piece can be performed by as few as five individual singers, probably altos, or by a chorus doubling the five parts. There is no text, and you are free to use whatever syllables help you shape the music. I have purposely under-notated the phrasing and articulation to indicate that you are free to shape your own performance of the piece.
Armon could also be performed by a men’s chorus, (or even a mixed chorus (tenors and altos, say), if the singers are careful to match their timbres with one another,) and you can feel free to transpose the whole piece as necessary. Please transpose so the music falls in a low and even vulnerable register for the singers.
The piano part is optional.
There is an optional additional spoken part that can be narrated at the beginning of the piece. It is an excerpt of a translation of a prayer of the 8th century female Sufi mystic Rabi’a:
if I speak my love to you in fear of hell,
incinerate me in it;
if I speak my love to you in hope of heaven,
close it in my face.
But if I speak to you simply because you
exist, cease withholding
translated by franz wright
Push the Dust was originally written as part of a big cello piece for Maya Beiser called I am writing to you from a far-off country. The text, by Belgian surrealist Henri Michaux, is written as a series of letters from a woman to an unnamed recipient.
We are more than ever surrounded by ants. They push the dust uneasily at top speed. They take no interest in us. Not one raises its head. This is the most tightly closed society that could exist, although outdoors they constantly spread out in all directions. It doesn’t matter, to realize their projects, their preoccupations… they are among themselves… everywhere. And until this moment, not one has raised its head towards us. It would rather be crushed.
The demo I made when I was composing the piece was for mallet percussion instead of cello, and I think it makes for a very cool percussion piece. I’ve posted that demo version as October 3rd in A Book of Days. It can be performed by six players on multiples of the same instrument, or as a solo piece for one player, who performs the text and one live percussion part, having pre-recorded the others. The piece can certainly be done on any mallet instrument like vibes or marimba, but you are also welcome to construct a homemade instrument, probably of pieces of metal, to record the playback tracks and perform the live line.
Here is a score of the complete piece. If you would like to perform the piece, please click the donation button below, and I will send you the individual parts you need to perform it live or record the playback tracks.
And thank you for supporting this low-key way of publishing: