My YouTube Channel has been updated a bit more than I've announced here. Catching up, here are three new pieces for 2018:
Canons for Kannon for Violin Duo
Canons for Kannon Score and Parts - IMSLP
A demo of a new piece for 2 mandolins and guitar:
A Trio Mirrored in Time for 2 Mandolins and Guitar
And finally, a strange tango written for the ensemble used by Messiaen for his Quartet for the End of Time, clarinet, violin, piano and cello.
Tango Concertante for Piano Quartet
Tango Concertante for Piano Quartet (cl, vln, vc, piano) explores the sound world of the tango in a kinetically diverse manner similar to last year's Piano Quintet. Climaxes result in static formations; counterpoint is used purely as pseudo-rhetorical decoration. The piece continues my surrealistic exploration of the tropes of the sonic momentum formation processes found in classical and romantic music while maintaining the dark ethos of today.
My Eroica Spettrale, possibly the first 'stretched' electronic piece, is being featured by Spotify in their Classical Meets Electronica playlist.
And a quick shoutout to Matthew Whiteside for his wonderfully eclectic and collaborative Spotify new music playlist:
Contemporary Music Collaboration || New Classical Music.
And if you haven't checked out my Spotify artist page, I've been adding a few photos and a new bio.
And finally, because of the ongoing hypocrisy and idiocy regarding my 'not-abstract-enough' approach to new music, I've started adding this request to my YouTube demo pages:
Please, if you have any contact with musicians or composers who are censoring my music because of my seemingly anti-abstract stylistic methods, please have them contact me. Music critics such as Alex Ross and Kyle Gann have publicly expressed interest in my music. Stylistic censorship for any reason against contemporary composers (and by contemporary I mean it sounds and feels of today) is not acceptable and perverse in 2018.'
Let me put this as simply as I can, my music is being censored for personal reasons by undergraduate and graduate professors and new music ensembles, not because of notoriety or enmity, not because of stylistic divergence, but merely to avoid the whole conversation about my uses, both novel and otherwise, of traditional melodic and contrapuntal form, something which modern masters from Penderecki to Philip Glass exploit regularly. And that is just so unbelievably hypocritical today, especially with the extremely disingenuous re-branding that many post-minimalists are employing to use both the post-genre "Music" and the self-rebranding away from Post-Minimalism to "New Classical."
Posted by jeff at April 7, 2018 01:50 AM