SUBOTNICK – The Making of Silver Apples of the Moon

Morton Subotnick

Morton Subotnick’s Silver Apples of the Moon was released fifty years ago.

In celebration of this milestone, fundraising is being undertaken to create a documentary about its creator. You can support SUBOTNICK’s Indiegogo campaign here.

Marc Sabat and JACK – “Harmony” (CD Review)

Marc Sabat

Harmony

JACK Quartet

Canadian Composers Series #5

Another Timbre

 

Euler Spirals Scenery (2011), Claudiu Ptolemy (2008), Jean Philippe Rameau (2012)

 

A long time fixture on the Toronto scene as a string performer, improviser, and composer, Marc Sabat now resides in Berlin. However, he has taken his experimental penchant for tuning systems with him, writing in extended just intonation with a fluency that rivals Harry Partch and Ben Johnston’s own explorations of pitch. On the CD Harmony, JACK Quartet plays two quartets and a duo with rapt attention to the detailed nuances of Sabat’s pitch language and a keen sense of its corresponding flowing rhythms.

 

Euler Lattice Spirals Scenery (2011) is a five movement work that name checks various elements and personages of the intonation studies milieu. The first movement, Preludio, is subtitled “Les Quintes Justes” and it indeed does deal with sustained pure fifths in evocative fashion. Two of the movements, numbers two and five respectively, are titled Pythagoras Drawing. Movements three and four are each dedicated to a different composer who has been influential on Sabat; they are titled Harmonium for Claude Vivier and Harmonium for Ben Johnston. Each successive movement sends us a little further into the dark forest of dissonant overtones that accumulate on top of “Les Quintes Justes.” Thus, the entire piece can be seen as gradually revealing the compass of Sabat’s pitch palette.

 

Claudius Ptolemy (2008) is a duo, played by JACK violinist Christopher Otto and cellist Kevin McFarland (note: Jay Campbell now plays with the group). Open string double stops as well as dissonant intervals, harmonics, and ambling melodies combine in this adagio essay to make a fresh-sounding conglomeration of familiar playing techniques. The aforementioned “ambling affect” is one that Sabat shares with a number of his Canadian colleagues, not least Linda Catlin Smith, whose volume in the Canadian Composer Series (#1) appeared as a review here earlier in 2017. The final work on the Sabat CD is named after another important music theorist: Jean-Philippe Rameau (2012). Here the simultaneities are particularly fetching, with double-stops from multiple quartet members overlapping into beautiful chords. In one of his treatises( from 1737), Rameau struggled to describe the consonant and dissonant properties of just intonation: Sabat’s Rameau lays it out for all to hear with abundant clarity.  

 

 

 

Xordox – Neospection (CD Review)

Thirlwell

JG Thirlwell

Xordox

Neospection

Editions Mego

xordox - neospection

JG Thirlwell has recorded under several monikers and with various bands (Frank Want, Clint Ruin, Foetus, Nick Cave and the Bad Seeds, et cetera). Xordox is his latest project, recorded both at Self Immolation Studios in Brooklyn and as part of a residency at EMS in Stockholm, Sweden.

Thirlwell primarily plays synthesizers here, employing an almost martial barrage of digital patches redolent of 80s sci-fi soundtrack work alongside more ethereal analog electronics and breathy samples. Sarah Lipstate joins Thirwell on three  tracks, adding hyper-processed guitar to the proceedings. “Diamonds,” the opening track (listen below), overlays multiple arpeggiations and pulsating synths to create a fascinating rhythmic grid. Over this are added still another layer of dramatic chord progressions. “Antidote” features an ostinato pattern of unequal beats (3+3+2) over which portentous strings are at play and underneath which a gloomy bass line holds court. Lipstate makes a cameo to revel in the groove, which is followed by a massive pileup that leads the piece towards its conclusion. Suddenly, the brakes slam on the forte sounds and we are left with a puzzling piano outtro.

On “Pink Eye,” synth brass stabs and thrumming electronic drums are set against ominous sustained notes and whirring glissandos. The most substantial track on the recording, the fourteen and a half minute long album closer “Asteroid Dust,” is a sly nod to game music. At the same time, it also contains a fascinating use of ostinatos as unifying factors over which melodic scraps and extraterrestrial explosions are given relatively free reign. On the latter half of the track, there’s an adroit incorporation of pitch bends to give microtonal inflections.

Neospection strikes a nice balance of process music, ambience, and spacy aggression. Imagine Blade Runner’s denizens visiting a club where Whovians congregate in the parking lot and you have a fair sense of the affective juxtapositions Thirlwell successfully undertakes.

Rey Pila: “Wall of Goth” (CD Review)

Rey Pila

Wall of Goth

Cult EP

 

Mexican rock band Rey Pila channels two different generations of music: eighties synth pop and early aughts indie rock. The latter is abetted by Julian Casablancas (The Strokes), who produces their EP Wall of Goth (out now via Cult). The four songs contained therein are replete with vocal hooks and instrumental breaks that help to carbon date their influences. However, the amalgam of these makes for an unusual, often fascinating, melange.

 

The trick today, of course, is that influences from yesteryear’s pop, especially often a pile-up of them from different eras, are the norm for many artists. In face of the fear of being written off as merely “retro” by publicists and the public (in which order?), bands seek to transcend an easy genre or era tag via a combining of signifiers the likes of which are found on Wall of Goth. Perhaps this is an opportune time to make the listener work a bit harder; since it is no longer enough to play “spot the influences” before rendering peremptory judgement, one may have to deal with artists like Rey Pila, who combine elements exuberantly, on their own merits rather than on the vintage of their effects pedals.

Friday: Houlihan Premieres Lash

Houlihan pedals
Christopher Houlihan

On Friday, June 23rd at 8 PM, organist Christopher Houlihan finishes his tenure at Church of the Holy Apostles with a recital on the space’s J.L. van den Heuvel organ.

J.L van den Heuvel Organ

The program will include staples from the repertoire – J.S. Bach’s Fantasia and Fugue in G minor, BWV 542 (a piece that Houlihan plays compellingly on his latest all-Bach CD for Azica), and Maurice Duruflé’s Suite, opus 5 . It also features a transcription by Alexandre Guilmant of the Andantino from Claude Debussy’s String Quartet and the premiere of a commissioned work, Ludus by Hannah Lash. This is Lash’s first work for organ, but given her imaginative use of colorful scoring in both operas and instrumental works, one imagines the van Den Heuvel will get a workout.

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The event is free (directions here).

LA Percussion Quartet – Beyond (CD Review)

Los Angeles Percussion Quartet

Beyond

Works by Daniel Bjarnason, Anna Thorvaldsdottir, Christopher Cerrone, Ellen Reid, and Andrew McIntosh

Sono Luminus 2XCD

Los Angeles Percussion Quartet performs on one of the most compelling releases of early 2017. Beyond (Sono Luminus, June 16, 2017) is a double-disc helping of new works for percussion ensemble by Daniel Bjarnason, Anna Thorvaldsdottir, Christopher Cerrone, Ellen Reid, and Andrew McIntosh. All of these composers are up and coming stars in the new music world. Both Reid and Cerrone are New Yorkers (Reid is now based in NY and LA) who have taken Los Angeles by storm in recent seasons with opera and orchestra projects. Bjarnason and Thorvaldsdottir are Icelandic composers who both have a strong connection to the West Coast. McIntosh is very strongly identified with the LA scene, as a composer, string performer, and the guiding force behind Populist Recordsone of the most interesting experimental labels out there (here is my recent review of a Populist release by Daniel Corral).

One of the fascinating things to hear on Beyond is the way in which each composer translates their musical approach to the percussive idiom. Thus, Bjarnason’s penchant for dynamic and scoring contrasts is demonstrated in Qui Tollis, a composition equally compelling in both its pianissimo and fortissimo passages. Thorvaldsdottir’s Aura maintains its creator’s fascination with pitched timbres and colorful clouds of harmony; these are deployed with a deft sense of ensemble interplay. Cerrone imports acoustic guitar and electronics in the five-movement suite Memory Palace. The places he references are familiar to New Yorkers, from the pastoral hues of “Harriman” to the tense ostinatos of “L.I.E.” (Long Island Expressway, for those of you who have the blissful fortune to be unaware of this stress-filled commuter highway), and his depictions ring true. Fear-Release by Reid presents a dramatic use of unfurling cells of rhythmic activity alongside pensive pitched percussion. Its coda for metallophones is particularly fetching; after all of the built up tension of the piece’s main body, it serves as a kind of exhalation.

The culminating, and most substantial, work on the recording is McIntosh’s I Hold the Lion’s Paw, a nine-movement long piece some three quarters of an hour in duration. Much of its composer’s music concerns itself with microtones and alternate tunings – he is experienced in playing both Early music’s temperaments as well as contemporary explorations of tuning. Thus it is no surprise that McIntosh’s pitch template for I Hold the Lion’s Paw is an extended one. However, this is just one aspect of a multi-faceted piece, which also makes extensive use of low drums and cymbals for a ritualistic colloquy. Still more ritualized, taking on an almost sacramental guise, is the pouring of water and striking of ceramics filled with water. Every percussionist I know loves an instrument-making assignment and McIntosh doesn’t disappoint: DIY elements include aluminum pipes, cut to fit. None of the elements of this significant battery of instruments seems out of place: despite the use of water, I Hold the Lion’s Paw is no “kitchen sink” piece. On the contrary, it is a thoughtfully constructed and sonically beguiling composition. Several excellent percussion ensembles are currently active: Los Angeles Percussion Quartet is certainly an estimable member of this elite cohort.

Thelonious Monk: Les Liaisons Dangereuses 1960 (CD Review)

Thelonious Monk

Les Liaisons Dangereuses 1960

Saga/Sam Records/Universal

2xCD, LP, and digital formats

Thelonious Monk, piano, composer, arranger; Charlie Rouse, tenor saxophone; Barney Wilen, tenor saxophone; Sam Jones, double bass; Art Taylor, drums

Since its arrival at our house, this release has been in heavy rotation. After it seems as if everything that the famed modern bebop pianist Thelonious Monk put to record had been issued, a treasure like this surfaces: the pianist’s soundtrack for Les Liaisons Dangereuses, the 1960 Roger Vadim film adapting Pierre Choderlos de Laclos’ famous 1782 novel. Buoyant versions of Monk classics such as “Rhythm-a-Ning,” “Well You Needn’t,” and “Crepuscule with Nellie” are abetted by excellent soloing from two tenor saxophonists, Barney Wilen (in whose archives these recordings resided) and Charlie Rouse, a frequent partner of the pianist’s. Monk’s playing, varied here in approach from succulent balladry to rousing uptempo soloing, spurs on the rhythm section of bassist Sam Jones and drummer Art Taylor to ever more complex coordinations. A previously unissued cut, the gospel number “By and By” by Charles Albert Tindley, receives a particularly sensitive reading. The recording contains a bonus disc that features alternate takes and a quarter hour of the group rehearsing and discussing “Light Blue.” To top it all off, the sound is excellent. Heartily recommended.

CV

Christian B. Carey – CV (PDF available upon request)

Websites: http://www.christianbcarey.com

http://www.soundcloud.com/cbcarey

 

Research Interests – Composition, American Music, Contemporary Concert Music, Music Theory, Music Theory Pedagogy, Musicology, Ecomusicology, Ethnomusicology, Gender/Sexuality and Music, Vocal Performance, Music Criticism, Jazz, and Popular Music

 

Education

Rutgers University – 1997-2001. Ph.D. in Music (Composition and Theory), 2001.

Dissertation Title – “Aspects of Elliott Carter’s Fifth String Quartet and

Three Original Pieces featuring Pitched Percussion.” Advisors:  Charles Wuorinen, Floyd Grave, Richard Chrisman, and Charles Fussell (outside reader).

Boston University – 1995-1997. Master of Music in Composition (Pi Kappa Lambda), 1997.

Thesis – “Three Movements for Orchestra” Advisors: Lukas Foss, Tison Street, & Richard Cornell.

Juilliard School – 1992-1995. Bachelor of Music in Voice (Secondary Studies in Composition), 1995.

Carnegie Mellon University – 1991-1992. Undergraduate studies in voice performance & composition.

 

Principal composition teachers

Rutgers University: Charles Wuorinen, 1997-2001.

Boston University: Lukas Foss, 1995-6, Tison Street, 1996-7.

Juilliard School: Michael Czajkowski, 1992-5.

Carnegie Mellon University: Nancy Galbraith, 1991-2.

Further composition study

June in Buffalo, 1998 & 1999. Masterclasses/lessons with Donald Erb, David Felder, Vinko Globokar, Aaron Jay Kernis, Jeffrey Stadelman, Harvey Sollberger, Jukka Tiensuu, and Kevin Volans.

Music X Festival: Masterclasses with Milton Babbitt, William Bolcom, and George Crumb, 1999.

Aspen Music Festival: Masterclasses/lessons with Bernard Rands and Jacob Druckman, 1995.

Computer/electronic music: Richard Cornell, Ronald Surak, Paul Rudy, and Michael Czajkowski.

Teacher training in Dalcroze Eurhythmics – Juilliard Dalcroze Institute, 1994-6. Columbia Teacher’s College, 1993. Teachers: Marta Sanchez, Robert Abramson, & Ann Farber.

Studies in voice, conducting, piano, and organ

 

College Teaching Experience

Subjects taught: music theory, ear-training, composition, post-tonal analysis.

musicology, ecomusicology, keyboard harmony, counterpoint, fugue, orchestration, songwriting, American music, analytical studies, and choral literature.

 

Westminster Choir College and School of Fine and Performing Arts, Rider University –

            Associate Professor, Department of Music Composition, History, & Theory: 2014-present;

Director, Westminster Baccalaureate Honors Program, 2013-present;

Assistant Professor II, Department of Music Composition, History, & Theory: 2012-2014;

Acting Assistant Professor of Music (School of Fine and Performing Arts): 2011- 2012

(full-time, non-tenure track);

Acting Assistant Professor, Department of Music Composition, History, & Theory: 2007-2011

(full-time, non-tenure track);

Adjunct Assistant Professor: 2004 – 2006.

 

Courses Taught:

Composition lessons to undergraduate and graduate composition majors

TH 045: Introduction to Musicianship (integrates theory, ear-training, and keyboard harmony)

TH 141: Musicianship I (integrates theory, ear-training, and keyboard harmony)

TH142: Musicianship II (integrates theory, ear-training, and keyboard harmony)

MUS 111: Theory II

TH 237: Composition Class

TH 241: Musicianship III (integrates theory, ear-training, and keyboard harmony)

TH 251: Analytical Studies I: Species Counterpoint (honors course)

TH 251: Analytical Studies I: American Art Songs

TH 251: Analytical Studies I: Analysis through Composition

TH 252: Analytical Studies II: British Art Songs

TH 252: Analytical Studies II: Fugue

TH 255: Songwriting

MH345: Music Since 1900

TH 451: Analytical Studies I: Engaging Analysis

TH 452: Analytical Studies II: Benjamin Britten’s Songs and Canticles

TH 452: Analytical Studies II: Music and Ecology

TH 452: Analytical Studies II: Baroque Counterpoint

MH433: Special Topics in Music History: Innovators in American Music

MH433: Special Topics in Music History: Impressionism and Music

TH 508: Graduate Theory Review

TH 521: Orchestration

TH 525: Analysis of Post-tonal Music (graduate course)

TH 523: Theory Seminar in British Song (graduate course)

TH 533: Choral and Instrumental Arranging

TH 534: Songwriting

TH608: Graduate Musicianship Review

TH 623: Theory Seminar – 16th Century Counterpoint (graduate course)

TH 623: Theory Seminar – Analysis of American Vocal Music (graduate course)

CR627: Choral Literature I (graduate course)

CR628: Choral Literature II (graduate course)

MH 733: Graduate Seminar in Music History: Minimalism

Supervised senior projects in composition and theory and independent studies in music theory and music theory pedagogy.

 

Manhattan School of Music – Instructor of Music Theory (full-time) and Coordinator of Aural Skills Program: 2006-2007.

 

Courses taught:

Freshman Theory

Sophomore Theory

Graduate Theory 2

Graduate Theory 3

Elementary Freshman Aural Skills Voice, Freshman Aural Skills Voice,

Sophomore Aural Skills, Sophomore Aural Skills Voice.

 

College of Staten Island, CUNY – Substitute Assistant Professor of Music –

Replacement position: 2003 -2004.

 

Courses Taught:

MUS 120: Rudiments

MUS 182: Performance Workshop

MUS 226: Harmony II

MUS 244: Ear-training II, MUS 363: Ear-training III, MUS 364: Ear-training IV

MUS 322: Counterpoint

MUS 326: Instrumentation and Scoring

 

 

 

William Paterson University – Assistant Professor of Music Theory and Composition:
Replacement position: January 2002 – June 2003.

Adjunct Professor: Fall 2001.

Courses Taught:

Composition lessons to undergraduate majors

MUS 144: Music Fundamentals

MUS 161: Freshman Music Theory

MUS 260 & 261: Sophomore Music Theory

MUS 280 & 281: Sophomore Ear-training

MUS 409: Counterpoint

 

Seton Hall University – Adjunct Assistant Professor of Music History: 2000-2001.

Courses taught:

MUH 1108: Music of America

MUH 1102: Music & Civilization

 

Rutgers University – Doctoral Fellow, Department Assistant in Music: 1997-2001.

Course taught: Music 103: Introduction to Music Theory.

 

Boston University – Teaching Fellowship: 1996-97.

Course taught: Freshman Ear-training and Sight-singing

 

Scholarships, Honors, and Awards

Research Leave, Rider University, Spring 2017.

Summer Development Fellowship, Rider University, 2016.

ASCAP Plus Awards, 2014, 2015.

Summer Research Fellowship, Rider University, 2014.

Commencement Speaker, Charge to the Graduating Classes, Westminster Choir College, 2010.

Finalist, University Distinguished Teaching Award – Rider University, 2010.

National Endowment for the Arts Grant – for Merkin Concert Hall Study Guide, 2008.

Winner of the Music Festival of the Hamptons Composition Competition, 2004.

Travel Grant – Rutgers University, 1998 and 1999.

Department Assistantship – Rutgers University, 2000-1.

Doctoral Fellowship – Rutgers University, 1997-2000.

Scholarship – Music X, University of Cincinnati, 1999.

Fellowship – June in Buffalo, 1998 and 1999.

Pi Kappa Lambda – inducted in 1997.

Teaching Fellowship – Boston University, 1996-7.

Scholarship – Twentieth Century Song Course, Britten Pears School, Aldeburgh, England, 1996.

Scholarship – Adams Advanced Composition Master Class, Aspen Music Festival, 1995.

Scholarship – Music Academy of the West, 1994.

Muriel Gluck Fellowship – Juilliard School, 1993-5.

Caruso Voice Award – Juilliard School, 1992-5.

Scholarship – Chautauqua Institution, 1992.

First Place – Tri -State N.A.T.S. Vocal competition, 1992.

Carnegie Tradition Award – Carnegie Mellon University, 1991-2.

 

Editorship

Sequenza21.com: Editor, 2015-present; Managing Editor, 2011-2014; Senior Editor, 2010-2011;

Contributing Editor, 2006-2009.

 

Select Publications

Chapter in Proceedings Volume

Dialogues: Conflict and Colloquy in Elliott Carter’s Late Concerti,”

Les Actes du colloque Hommage à Elliott Carter (Editions Delatour), 2013.

Peer-reviewed

“Capuzzo’s Questions,” The Open Space,  forthcoming 2017.

“Milton Babbitt: A composers’ memorial,” Perspectives of New Music, Volume 49/2, 2012.

“Whittall & the Perils of Transcontinental Serialism, Intégral, Vol. 23, published 2011.

“Mother Lode Issues: Shapey’s Worksheet and the Late Music,” Perspectives of New Music,                                    Volume 47/2, 2010.

Commissioned

Program essays for Tanglewood Festival of Contemporary Music, commissioned by Boston Symphony, 2017.

Analytical Essays on Music by Women Composers,” Tempo volume 71/Issue 280, 2017.

Director biography for Tanglewood Festival of Contemporary Music, commissioned by Boston Symphony, 2016.

Program essays for Tanglewood Festival of Contemporary Music, commissioned by Boston Symphony, 2016.

Program essay for League of Composers/ISCM, 2016.

“Carnegie Hall’s 125 Commissions Project”, program essay, Playbill, 2015.

Program essay for League of Composers/ISCM, 2015.

Program essays for Tanglewood Festival of Contemporary Music, commissioned by Boston Symphony, 2015.

Program essays for Tanglewood Festival of Contemporary Music, commissioned by Boston Symphony, 2014.

Program essays for League of Composers/ISCM, 2014.

”Marti Epstein,” new entry for Grove Dictionary of American Music ,2013.

”Mel Powell,” revised entry for Grove Dictionary of American Music, 2013.

“Noel DaCosta,” revised entry for Grove Dictionary of American Music, 2013.

“Robert Dick,” revised entry for Grove Dictionary of American Music, 2013.

“Donald Martino,” revised entry for Grove Dictionary of American Music, 2013.

“Ralph Shapey,” revised entry for Grove Dictionary of American Music, 2013.

“Richard Hervig,” revised entry for Grove Dictionary of American Music, 2013.

“Marco Stroppa,” program essay for Tanglewood Festival of Contemporary Music,

commissioned by Boston Symphony, 2013.

“Dan Trueman’s Neither Anvil Nor Pulley,” Album Review, Time Out NY, June 24, 2013.

“Twelve in 12,” program essay for Trinity Wall Street’s Pulitzer Prizewinners Concert Series, 2012.

“Sean Shepherd,” program essay for Tanglewood Festival of Contemporary Music,

commissioned by Boston Symphony, 2012.

“Gloria Cheng Recital,” program essay for Tanglewood Festival of Contemporary Music,

commissioned by Boston Symphony, 2012.

“Composing in the 21st Century,” program essay for SONiC Festival,

commissioned by American Composers Orchestra, 2011.

“Review: Elliott Carter by James Wierzbicki,” Tempo, Volume 66, Issue 262, October 2012.

“Festival of Contemporary Music,” Tempo, Volume 64, Issue 256, April 2011.

“Baltic Illuminations – White Light Festival,” Lincoln Center Playbill, October 2010.

“Leon Kirchner at 90,” Tempo, Volume 63, Issue 249, July 2009.

“Book Review: Elliott Carter: A Centennial Festschrift,” Tempo Volume 63,

Issue 248, April 2009.

“Review: Crosstalk,” Musicworks 103.

“Review: Oppens Plays Carter,” Musicworks 103, 2009.

“Tanglewood Festival: Elliott Carter Celebrations,” Tempo Volume 63, Issue 247, January 2009.

“Elliott Carter: Complete Music for Winds – A Study Guide,”

published by Merkin Concert Hall (2008).

“Jody Redhage: Singing Cellist,” Musicworks, 102, 2008.

“Review: Eric Moe’s Tri-Stan,” Musicworks, 101, 2008.

“Sonic Geography,” Musicworks, 94, 2005.

“Review: there is still time,” Musicworks, 93, 2004.

“Review: Herbert Henck plays Cage,” Musicworks, 95, 2005.

“Charles Wuorinen’s Individual Approach to Post-tonal Composition,” Musicworks, 92, 2004.

 

Liner Notes Essays

“Jeffrey Mumford,” Jeffrey Mumford, Through a Stillness Brightening, Albany TROY 1473/74.

“Atmosphere, Accumulation, and Drive,” Arlene Sierra, Game of Attrition, Bridge CD 9414.

“John Aylward – the Importance of Place(s),” John Aylward, Stillness and Change,

Albany Records CD Troy 1283.

“Louis Karchin’s Romulus – An Interview with the Composer,” Louis Karchin, Romulus,

Naxos American Classics CD  8.669030

 

Journalism

“The Complete Works of Boulez – So Far,” Musical America, September 12, 2013.

“NY Phil’s Contact: How New is New?,” Musical America, April 9, 2013.

“Composers Now 2013 Gets Underway,” Musical America, February 14, 2013.

“Jonathan Harvey: Dissonance Meets the Divine,” Musical America, October 12, 2012.

“Standing Room Only – for Stockhausen?,” Musical America, July 2, 2012.

“ACME – Clever Marketing Hook, Mixed Musical Result,” Musical America, June 11, 2012.

“Small Orchestra meets Big Gestures,” Musical America, May 7, 2012.

“Kronos Quartet: From the Sublime to the Ridiculous,” Musical America, March 2, 2012.

“John Cage’s Bifocals,” Musical America, February 7, 2012.

“Interview: Dennis Russell Davies,” Musical America, January 31, 2012.

“NY Phil’s ‘Contact!’ Leans Away from US,” Musical America, December 20, 2011.

“John Zorn: Chameleon or Magpie?,” Musical America, December 13, 2011.

“Happy Birthday Bridge Records,” Musical America, October 28, 2011.

“How Do You Say Gesamtkunstwerk in Scottish?,” Musical America, September 19, 2011.

“Sibelius Under an Artist’s Microscope,” Musical America, August 25, 1011.

“What’s in a Name?, Musical America, June 21, 2011.

“French New Music Group Makes US Debut, Musical America, June 14, 2011.

“At Vox, Separating the Wheat from the ____,” Musical America, May 20, 2011.

“Reich Concert Celebrates an Icon,” Musical America, May 5, 2011.

“Too Much of a Good Thing?,” Musical America, April 24, 2011.

“Putting a Face on the New,” Musical America, April 18, 2011.

“The Real Sopranos are at NY City Opera,” Musical America, March 30, 2011.

“Mario Davidovsky’s Birthday Concert,” Musical America, March 11, 3011.

“Another Party for Alice Tully’s Nearly New Hall, Musical America, March 1, 2011.

“Finding Room to Tune in the New,” Musical America, February 22, 2011.

“Lutoslawski – Tomorrow’s Old Guard,” Musical America, February 1, 2011.

“Indie Classical Gets Ecstatic,” Musical America, January 24, 2011.

“Making Contact with Contact!,” Musical America, December 21, 2010.

“Boulez’s Birthday Finale (He Hopes),” Musical America, December 13, 2010.

“Andrew Ford,” feature article, Signal to Noise, Summer 2011.

“Ryuichi Sakamoto: After Noise,” feature article, Signal to Noise, 60, Winter 2010.

“Gamelan Takes Center Stage,” Musical America, October 20, 2010.

“Hannah Lash: Beauty and the Beast meets Dracula,” Musical America, September 29, 2010.

“Composer Portrait: Eye of the Storm,” Musical America, April 7, 2010.

“Kronos Moves in to Carnegie Hall,” Musical America, March 18, 2010.

“Orpheus Premieres Final New Brandenburg,” Musical America, February 11, 2010.

“Arditti Quartet Rises to the Occasion,” Musical America, December 8, 2009.

“Finding the Beauty in Ralph Shapey’s Music,” Musical America, December 1, 2009.

“Review: Elliott Carter: A Centennial Portrait in Letters and Documents; Edgard Varése: Composer,

Sound Sculptor, Visionary,” Signal to Noise, 55, 2009.

“Capacity Crowds for Contemporary Piano Fest,” Musical America, May 25, 2009.

“Modernism Dream Team comes to New York,” Musical America, May 14, 2009.

“Trio Solisti, Café Style, Musical America, May 1, 2009.

“Celebrating Poul Ruders at Sixty,” Musical America, April 1, 2009.

“Review: Elliott Carter’s What Next?,” Signal to Noise, 49, 2008.

“Review: Moondog, the Authorized Biography,” Signal to Noise, 49, 2008.

“Interview: Hayes Biggs,” Signal to Noise, 48, 2007.

“Review: The Rest is Noise,” Signal to Noise, 48, 2007.

“Two to Tango – Dino Saluzzi and Anja Lechner,” Signal to Noise, 46, 2007.

“He Cares if You Listen: Milton Babbitt at 90,” Signal to Noise, 45, 2007.

“Fountain of Youth: Elliott Carter,” Signal to Noise, 41, 2006 (cover story).

“Interview: Christopher O’Riley,” Signal to Noise, 39, 2005.

“Interview: David Rakowski,” Signal to Noise, 38, 2005.

Numerous online articles & reviews since 2001 (Sequenza 21, Pop Matters, All About Jazz, etc.).

 

Lectures, conference presentations

Preconcert panel, Pictures 2015 Concert at Montclair Art Museum, 2015.

Preconcert lectures, American Art Song Festival, Westminster Choir College, Princeton, 2014.

Preconcert panel, Pictures 2013 Concert at Montclair Art Museum, 2013.

Master Class moderator and Preconcert Talk with featured composer Hanspeter Kyburz, Festival given by East Coast Contemporary Ensemble, Goethe-Institut Boston, 2012.

Preconcert panel, Pictures 2012 Concert at Montclair Art Museum, 2012.

Panel discussion, “Milton Babbitt: A Composers’ Memorial,” Wright State University, Dayton, 2012.

Conference Presentation: “Theorizing Sound in the Cloud,” Music Theory Society of the Middle Atlantic Annual Conference. University of Delaware, 2012.

Composer talk: SUNY-Fredonia, 2011.

Conference Presentation: “Shapey’s Worksheet: Applications in Composition and Theory Pedagogy,” Music Theory Society of the Middle Atlantic Annual Conference, George Washington University, Washington, DC, 2011.

Conference Presentation: “Ralph Shapey’s Worksheet as Compositional Space,” Music Theory Society of the Middle Atlantic Annual Conference, Penn State University, 2010.

Composer-performer talk: Rutgers University, 2010.

Composer forum: Manhattan School of Music, 2009.

Conference presentation: “Dialogues: Conflict and Colloquy in Carter’s late Concerti,” Illuminations and Reflections (Carter/Messiaen conference), San Francisco State University, 2009.

Conference presentation: “Dialogues: Dramatic Narrative in Elliott Carter’s late Concerti,” Colloque International: “Hommage á Elliott Carter,” IRCAM, Paris, December 2008.

Preconcert lecture with art historian Adrienne Baxter-Bell at Pictures 2008 Concert at

the Montclair Art Museum, 2008.

Composer Forum with the Halcyon Trio, Westminster Choir College, 2008.

Post-concert lecture at Two River Theater in Red Bank, NJ, 2007.

Pre-concert lecture at Two River Theater Company, Red Bank, NJ, 2006.

Pre-concert lecture on Morton Feldman’s Words and Music as part of

Two River Theatre Company’s celebration of the Samuel Beckett Centennial, 2006.

“New Perspectives on Music Scholarship,” Session Chair, Annual Meeting,

Music Theory Society of the Middle Atlantic, Westminster Choir College, 2006.

Pre-concert panel discussions with composer Melinda Wagner, Ionisation New Music

Ensemble concerts at Two River Theater Company in Red Bank, NJ and at the Montclair Art Museum in Montclair, NJ, 2005.

Post-concert roundtable discussion, Hindemithon at William Paterson University, 2003.

“Stravinsky: A Soldier’s Tale,” Post-concert lecture given at NJ Arts Collective concert, 2002.

 

Discography

For Milton, Recorded by John McMurtery and Ashlee Mack (Milton Babbitt: A Composers’ Memorial,

 PNM/OS CD3, 2012).

For Milton, Recorded by Righteous Girls (Gathering Blue, New Focus Records/Panoramic, PAN 03, 2015).

He Wishes for the Cloths of Heaven, Recorded by Wendy Richman (Vox/Viola, Tundra Records, 2017),

in preparation.

 

Select Compositions/Performances (Works list available as separate document)

Prelude on “Add One More Seat to the Table” – organ (2017).

Golgotha – organ (2017).

Chorale Prelude and Fugue on “Let the Water Rain Down” – organ (2017).

Three Ross Gay Settings Ode to drinking water from my hands, Wedding Prayer, and Ode to the flute

– for soprano and piano (2016). Poetry by Ross Gay. Premiered by soprano Sara Noble and pianist Nadia Shpachenko at New Music Gathering 2017, Bowling Green State University, Bowling Green Ohio, 2017.

Let the Water Rain Down – Hymn setting, words by Kay Mitchell (2016).

Solo 2 – for solo piano (2016). Premiered by Ian Good at All Saints Church, Princeton, NJ, 2016.

Tennessee Topiary – for solo violin (2016).

Quintet 2 – for oboe, clarinet, violin, cello, and piano (2015). Premiered by East Coast Contemporary

Ensemble at Tulane University’s Niente Forte Festival, 2016.

Add One More Seat to the Table – hymn setting, words by Kay Mitchell, 2015.

Premiered at Christ Congregation, directed by Christian Carey, 2015.

Subsequent performances by the Wesley Choir, directed by Gareth Bond, at Wesley United Methodist Church in Vienna, Virginia, 2015 and 2016,

and the Harvard Choral Fellows, directed by Carson Cooman, at Memorial Church of Harvard

University, 2015.

Performed by Tom Colao, All Saints Church, Princeton, NJ, 2016.

Performed by Ian Good, Sparta United Methodist Church, Sparta, NJ, 2016.

Lullaby – for piano (2015). Premiered by Tom Cunningham at All Saints Church, Princeton, NJ, 2016

Performed by Holly Roadfeldt, Christ Church, Bethlehem, PA (twice), 2016

Anniversary – for piano (2015). Premiered by Ian Good at All Saints Church, Princeton, NJ, 2016.

Reunion – for piano (2015). Premiered by Tom Cunningham at All Saints Church, Princeton, NJ, 2016.

Psalm 103 – for SA or TB choir (2015). Premiered at Memorial Church at Harvard University by the Harvard Choral Fellows, directed by Carson Cooman, 2015, and again at Memorial Church in 2016.

Performed by Sara Noble and Megan Ihnen, All Saints Church, Princeton, NJ, 2016.

Duo – for oboe and clarinet (2014).

Mass for Men’s Voices – for TTB choir (2014). Commissioned by Grace Church in Newark.

Premiered by St. Dunstan’s Choir, November 16, 2014.

Three and a Half Little Carol Settings – for organ (2013).

Premiered by Joseph Arndt at Grace Church in Newark, 2013.

Performed by Thomas Faracco, Philadelphia, PA, 2013.

Performed by Douglas Buchanan, Dallas, TX, 2013.

Performed by Douglas Buchanan, Baltimore, MD, 2014.

Bouquet – for viola and piano (2013).

Boolean Operators – for piano (2013). Premiered by Carl Patrick Bolleia at William Paterson University,

2014.

Chanson Variations – for organ (2013). Commissioned by Carson Cooman.

Premiered at King’s Chapel, Boston, MA, 2014.

Performed by Joseph Arndt, Grace Church in Newark, 2014.

Performed by Carson Cooman at:

LaVerna International Organ Festival, LaVerna, Italy, 2014.

Edwards Church, Northampton, MA, 2014.

University Lutheran Church, Cambridge, MA, 2014.

First Unitarian Society, Newton, MA, 2014.

Christ Episcopal Church, Portola Valley, CA, 2014.

Memorial Church at Harvard University, Cambridge, MA 2015.

Je Suis Aimé de la Plus Belle – for voice and piano or voice and drone (2013). Text by Clement Marot.

Premiered by Sara Noble at Prince of Peace Lutheran Church, Princeton Junction, NJ, 2013.

Performed by Sara Noble, All Saints Church, Princeton, NJ, 2016.

Solo for Piano – (2013). Commissioned by Erika Dohi. Premiered at Prince of Peace Lutheran Church,

Princeton Junction, NJ, 2013.

Subsequent performances by Erika Dohi at Stony Brook University, Stony Brook, NY, and

Cornelia Street Café, NYC, 2014.

From “Blue Symphony” – Soprano and piano (2013). Text by John Gould Fletcher.

Premiered by Sara Noble and Adam Marks at Montclair Art Museum, NJ, 2013.

Performed by Sara Noble and Carl Patrick Bolleia, Montclair Art Museum, NJ, 2015.

Performed by Sara Noble and Graeme Burgan, All Saints Church, Princeton, NJ 2016.

Ballet of the Soul – SATB Choir (2013). Text by Stephen John Kalinich.

Premiered by Haddonfield Madrigal Singers at Haddonfield United Methodist Church, 2013.

Performed at Westminster Choir College Fall Convocation, 2013.

Psalm 100 – Jubilate Deo – SATB choir (2013). Commissioned by Manhattan Choral Ensemble.

Premiered at Church of the Holy Trinity, NYC, 2013.

Subsequent performance by the Wesley Choir, Gareth Bond, director, Wesley United

Methodist Church, Vienna, Virginia, 2016.

Fantasies for Cello and Guitar – (2012). Premiered by Jay Campbell and Mak Grgic at the

Eagle Rock Music Festival, Eagle Rock, CA, 2012.

Seven Magnificat antiphons – SSATB choir (2012-2015). Commissioned by Grace Church in Newark.

O Oriens – Premiered at Grace Church in Newark, Newark, NJ, 2012.

O Rex Gentium – Premiered at Grace Church in Newark, Newark, NJ, 2013.

Complete cycle of Antiphons premiered by Wesley Choir, Gareth Bond, director, Wesley

United Methodist Church, Vienna, Virginia, 2015.

O Emmanuel performed by Wesley Choir, directed by Gary Bond, 2016.

O Sapientia and O Adonai performed by Clarum Sonum, Rider Foster, director, at Church on the Green, Morristown, NJ, 2016.

Gilgamesh Suite – for flute, harp, prepared piano, and string quartet (2012). Commissioned and                  premiered by Locrian Chamber Players at Riverside Church, NYC, 2012.

Excerpts performed by Urban Playground Chamber Orchestra, Queens College, NYC, 2016.

Fiery Sunset – for solo piano (2012). Commissioned by New Jersey Arts Collective.

Premiered by Carl Patrick Bolleia at Montclair Art Museum, Montclair, NJ, 2012.

Performed by Tom Cunningham, All Saints Church, Princeton, NJ, 2016.

Gloss on Guston – for solo piano (2012). Commissioned by New Jersey Arts Collective.

Premiered by Carl Patrick Bolleia at Montclair Art Museum, Montclair, NJ, 2012.

Ascendit Deus –for SSATB choir (2012). Commissioned by Grace Church in Newark for 175th Anniversary.

Premiered 2012. Subsequently performed at Grace Church in Newark in 2013 and 2014.

“My Kiss is a Journey …” for SATB or ATBB choir (2011). Text by Stephen John Kalinich.

Premiered by C4 at Church of St. Luke in the Fields and Baruch College, 2013.

Subsequent performances by C4 at Baruch College and St. Peter’s Church, 2013.

“Prayer” – for male vocalist, bass clarinet, muted trumpet, and muted trombone (2011). In 72 EDO tuning.

Commissioned by loadbang. Premiered at Greenwich House, NYC, 2011.

Performed by loadbang, Festival of New American Music, Sacramento, CA, 2014.

Performed by loadbang, DiMenna Center for Classical Music, NYC, 2014.

Spiritual Variations III – for pipe organ (2011). Commissioned by Joseph Arndt for the

Grace Church in Newark recital series. Premiered at Grace Church in Newark, Newark, NJ, 2011.

For Milton – for flute and piano (2011). Commissioned by Perspectives of New Music/Open

Space Magazine for John McMurtery and Ashlee Mack to record on a CD accompanying their Milton Babbitt Memorial Issue (2012).

Premiered by Jayn Rosenfeld and Stephen Gosling, members of the League of Composers Chamber Players, Tenri Cultural Institute, NYC, 2013

Performances by John McMurtery and Ashlee Mack: at Western Illinois University, 2013 & 2016.

Performances at Knox College, 2016.

University of Wisconsin-Oshkosh, 2016.

Lawrence University, 2016.

Performances by Righteous Girls (Gina Izzo, flute; Erika Dohi, piano):

Spectrum, NYC, 2013.

Cornelia Street Café, NYC, 2013.

Westminster Choir College, Princeton, NJ, 2013.

Prince of Peace Lutheran Church, Princeton Junction, NJ, 2013.

Rockwood Music Hall, NYC, twice in 2015.

Bohemian Caverns, Washington DC, 2015.

An De Musik Live!, Baltimore, MD, 2015.

Atlas Performing Arts Center, Washington DC, 2015.

Joe’s Pub, NYC, 2015.

Spectrum, NYC, 2016.

La Salle-Peru High School (IL), 2016.

Music Department Concert, Princeton University, 2016.

Horie-Arte, Osaka, Japan, twice in 2016.

Wiley Overture – for string quartet, piano, and drums (using brushes) (2011). Written for the

American Contemporary Music Ensemble (ACME). Premiered at Joe’s Pub, NYC, 2011.

Spiritual Variations II – for pipe organ (2011). Commissioned by Joseph Arndt for the

Grace Church in Newark recital series. Premiered May 2011 at Grace Church, Newark, NJ.

Performed by Arndt at:

St. Patrick’s Cathedral, NYC, 2012

Princeton Chapel, Princeton, NJ, 2012.

Performed by Carson Cooman, Memorial Church at Harvard University, 2012.

Performed by Thomas Colao, All Saints Church, Princeton, NJ, 2016.

The Gilgamesh Variations – for prepared piano, percussion, and electronics.

Incidental music for theatrical production (2011).

Produced at Bushwick Starr Theatre, Brooklyn, NY, 2011.

Fuller Brush Work – for solo drum set featuring brushes (2010).

Commissioned by Peter Jarvis and Calabrese Brothers Music.

Published by Calabrese Brothers Music, 2011 (ASCAP).

Premiered by Peter Jarvis at Connecticut College, 2012.

Performed by Peter Jarvis at:

Prince of Peace Lutheran Church, Princeton Junction, NJ, 2013.

William Paterson University, 2013.

He Wishes for the Cloths of Heaven – for alto and viola (2010).  Version for alto and piano (2014).

Version for mezzo and violin (2011). Text by W.B. Yeats.

Commissioned by Wendy Richman.

Premiered by Richman at Bushwick Starr Theatre, Brooklyn, NY, 2011.

Performed by Richman at:

Oberlin College (OH), 2011.

Dreamland, Louisville, Kentucky, 2016.

The Viola Society’s Annual Meeting at Oberlin College, 2016.

University of Illinois, 2017.

Performed by Megan Ihnen and Joseph Kneer at Jordan Faye Contemporary, Baltimore, MD, 2012.

Performed by Megan Ihnen and John Yuan at Prince of Peace Lutheran Church, Princeton Junction,

NJ, 2013.

Performed by Megan Ihnen and Marta Honer, Racine Art Museum, Racine Art Museum, 2013.

Performed by Megan Ihnen and Graeme Burgan at All Saints Church, Princeton, NJ, 2016.

Duo – for alto saxophone and piano (2010). Premiered by Stephanie Cupo and Joey Latka at

William Paterson University, Wayne, NJ, 2010.

Performed by New Music Ensemble at College of St. Rose, Albany, NY, 2014.

Lullaby Vocalise – for soprano and piano (2010). Commissioned by Nia Rhein. Premiered at

Westminster Choir College by Nia Rhein and Rebecca Leshures, 2010.

Recorded by Rhein and Leshures (self-released), 2010.

Performed by Sara Noble and Graeme Burgan, All Saints Church, Princeton, NJ, 2016.

Swedenborg Variations (after Inness) – for violin and piano (2010).

Performed by New Music Ensemble at Connecticut College, New London, CT, 2010.

Biscuit – for singing cellist and trombone (2010). Composed for Jody Redhage and Alan Ferber.

Three Kenyon Songs – for singing cellist (2007-9). Version for voice and piano (2014).

Texts by Jane Kenyon.

Commissioned by Jody Redhage.

Performed by Jody Redhage at:

Serial Underground Series, Cornelia Street Café, NYC, 2008.

Meredith College, Raleigh, NC, 2008.

Red Poppy Art House, San Francisco, CA, 2008.

Composer’s Voice Series  (Vox Novus),  Jan Hus Church, New York, NY, 2009.

Mountain Lakes House, Princeton, NJ, 2009.

Songstresses from the Edge, First Presbyterian Church, Brooklyn, 2009.

Westminster Choir College, Princeton, NJ, 2010.

Performed by Megan Ihnen at:

Texas Lutheran University, TX, with Elizabeth Lee, 2014.

University of Missouri-Kansas City’s Composition Workshop, 2016.

All Saints Church, Princeton, NJ, with Graeme Burgan, 2016.

“Three Barbosa Settings” – for tenor and piano (2008). Text by Matthew Barbosa.

Locrian Flourish – for flute (2008). Commissioned by the Locrian Chamber Players.

First performance by Diva Goodfriend-Koven at Riverside Church, NY, 2009.

Performed by John McMurtery at: Denver University, Denver, CO, 2009

Western Illinois University, Macomb, IL, 2009

Westminster Choir College, Princeton, NJ, 2010.

Performed by Gina Izzo at Prince of Peace Lutheran Church, Princeton Junction, NJ, 2013.

Spiritual Variations – for organ (2008). Commissioned by Joseph Arndt.

            Performed by Joseph Arndt at Grace Church in Newark, Newark, NJ, 2009, 2011, 2013, and 2015.

Westminster Choir College, Princeton, NJ, 2010.

St. Patrick’s Cathedral, NYC, 2012.

Princeton Chapel, Princeton, NJ, 2012.

Trinity Wall Street Church, NYC, 2013.

St. Joseph’s Episcopal Church, Tulsa, OK, 2016.

Performed by Thomas Colao, All Saints Church, Princeton, NJ, 2016.

Kingsfold Amazing Grace – for solo quartet (SATB), mixed voices and organ (2008).

Performed at Fall Convocation 2008 at Westminster Choir College (conductor: Joe Miller), 2008.

Performed at Grace Church in Newark, 2008 and 2011.

Innesscapes – for clarinet, viola, and piano (2008). Commissioned by Montclair Art Museum.

            Performed by the Halcyon Trio at Montclair Art Museum, NJ, 2008.

Performed by Chiasmus Ensemble at Burgess Center, Manchester, England, 2012.

Silver Lion Flourish – for flute (2007).

Performed by John McMurtery at:

Denver University, 2008.

Western Illinois University, 2008.

Westminster Choir College, 2010.

Performed by Gina Izzo, Prince of Peace Lutheran Church, Princeton Junction, NJ, 2013.

Processional and Recessional – for woodwind quintet (2007).

Performed by Ionisation at Grounds for Sculpture, Hamilton, NJ, 2007.

Butterfly Flourish – for flute (2007).

Performed by Diva Goodfriend-Koven at a concert given by the Locrian Chamber Players at Riverside Church, New York, 2008.

Performed by John McMurtery at:

Denver University, 2008.

Western Illinois University, 2008.

Westminster Choir College, 2010.

Performed by Gina Izzo at Prince of Peace Lutheran Church, Princeton Junction, NJ, 2013.

Bagatelles – for piano (2006), for alto flute (2005), and for alto flute and piano (2004).

Performed by Dal Suono Sommerso at:

Aula Magna della Facoltà

Valdese di Teologia in Rome, Italy, 2008.

Museum Center in Tempio Pausania, Sardinia, 2009.

Performed by John McMurtery and Ashlee Mack at:

Denver University, 2008

Western Illinois University, 2008

Westminster Choir College, 2010.

Performed by Amelia Archer and Hubert Ho at:

West Valley College, Saratoga, CA, 2012.

Trinity Chapel, Berkeley, CA, 2012.

Performed by Righteous Girls at:

Cornelia Street Café, NYC, 2013

Prince of Peace Lutheran Church, Princeton Junction, NJ, 2013.

Mourning Madrid – for orchestra and locomotive (2004).

2nd version for orchestra alone (2004).

Winner of the 2004 Music Festival of the Hamptons Composition Competition.

Commissioned by the Atlantic Chamber Orchestra.

Performed at the 2004 Music Festival of the Hamptons, Atlantic Chamber Orchestra and LIRR locomotive, conducted by Michael Guttman, Bridgehampton, NY, 2004.

Blastah! – for bass clarinet (2003). Premiered by David Dunn at University of Maryland County, 2000.

Performed by David Dunn at Rutgers University, 2001. Performed by Dunn at Granfaloon, Chattanooga, Tennessee, 2016.

It is a long trip we are the only riders … – for trombone and piano (2002).

Cello Fantasy II- for solo cello (2001).

Premiered by Rachel Turner at Rutgers University, 2001

Trio II – for flute, clarinet, and marimba (2001).

Premiered by Helix, Nicholas Music Center, New Brunswick, NJ, 2001.

Trio I – for flute, cello, and vibraphone (2000).

Premiered by Helix, Nicholas Music Center, 2000.

Performed by Ionisation at the Montclair Art Museum and Two River Theatre in

Red Bank, NJ, 2005.

Marimba – for solo marimba (2000).

Premiered by Helix, Nicholas Music Center, New Brunswick, NJ, 2000.

Kaleidoscopic Landscapes – for solo trombone (2000).

Premiered by Bridget MacDonald at Rutgers University, 2000.

Postcard – for Pierrot plus percussion ensemble (2000).

Premiered by Helix at Nicholas Music Center, New Brunswick, NJ, 2000.

String Quartet – (1999).

Performed by the Cassatt String Quartet, June in Buffalo, NY, 1999.

Sextet – for Pierrot plus percussion ensemble (1999).

Performed by Helix at Nicholas Music Center, New Brunswick, NJ, 1999

and at the Progressions Series at University of Maryland Baltimore County, 2000.

Performed at Music X Festival, University of Cincinnati, Cincinnati, Ohio, 1999.

Reversals of Fortune – for electronics (1998).

Performed at Rutgers, New Brunswick, NJ, 1998.

Quintet – flute, clarinet, vibraphone, violin, and cello (1998).

Premiered by New York New Music Ensemble, conducted by Harvey Sollberger,

June in Buffalo, NY, 1998

Performed by Helix, Nicholas Music Center, New Brunswick, NJ, 1998.

Performed by Ionisation, Two River Theatre, Red Bank, NJ, 2006, and Montclair Art Museum, NJ, 2006.

Performed by Helix, Nicholas Music Center, New Brunswick, NJ, 2012.

Quartet – flute, clarinet, percussion, and cello (1995).

Premiered by the Aspen Contemporary Ensemble, Aspen Music Festival, CO, 1995.

Sonnet 116 – for SATB soloists and piano: poem by Shakespeare (1994).

Premiered at Music Academy of the West, Santa Barbara, CA, 1994.

4 Sonnets from the Portuguese – for soprano: text by Elizabeth Barrett Browning (1991).

Premiered by Meagan Miller at Paul Recital Hall, Julliard School, NY, 1994.

Performed by Eileen Frizzell at Music Academy of the West, Santa Barbara, CA, 1994.

Performed by Joellyn Giovetsis (excerpt) at Westminster Choir College, Princeton, NJ, 2009.

 

Performing experience

As a vocalist, performs repertoire ranging from Medieval to contemporary music.

As a choral conductor/organist/pianist, has led music programs and directed adult and youth choirs

in various liturgical settings for over 20 years.

 

Service

Rider University

University Baccalaureate Honors Program Advisory Committee, 2013-present.

Westminster College of the Arts, Dean Search Committee, 2014-2015.

Rider University AAUP Executive Committee, At Large Member, 2013-2014.

Rider University Affirmative Action Committee, 2012-2014.

Westminster Choir College

WCC Baccalaureate Honors Program Director, 2013-present.

WCC Graduate Committee, 2013-2015.

WCC Italian/German Language Faculty Search, 2013.

WCC Bachelor of Arts in Music Subcommittee, 2012- 2013.

Academic advisor for Music Education, Bachelor of Arts in Music,

and Baccalaureate Honors Program students, 2012-present.

Aural skills diagnostic testing for applicants to graduate choral conducting program, 2012-present.

“21st Century Music with Christian Carey,” faculty recital, 2010.

Panel moderator, Drifts and Shadows, Voice faculty member Elem Eley’s CD Release event, 2008.

Composed pieces for Fall Convocation in 2008 and 2013; composed various occasional pieces for

Campus events, 2008-present.

Oral examination committees for graduate students in all music degree programs, 2008-present.

 

 

 

Music Composition, History, and Theory Department

Program Committee, Ecomusicology Conference, 2014.

Co-organized 2011 and 2013 Westminster Music Research Celebration,

Convener of MCHaT Department forum (2010-2011),  organized forums for visiting artists.

Adjunct faculty observations.

Recruiting Music Theory/Composition majors.

Admissions testing for incoming undergraduate and graduate students.

Outside Rider/WCC

Music Theory Society of the Middle Atlantic, Chair, program committee, 2016 conference; Member, program committee, 2015 conference.

Outside peer reviewer, Elliott Carter Studies Online, 2015.

League of Composers/ISCM – Member of Board of Directors  & program note annotator, 2013-present.

East Coast Contemporary Ensemble – Member of Artistic Advisory Board, 2013-present.

Judge of League of Composers Composition Competition, 2013 and 2014.

Outside peer reviewer, Intégral, 2011.

Organizer, Judge, and Curator, Sequenza 21/MNMP 2011 Call for Scores & Concert, 2011.

Minister of Music, East Brunswick Congregational Church (2006-2011).

Juror (with Steve Reich) of Indaba Music’s 2×5 Steve Reich Remix Contest, 2010.

Judge, MTNA Composition Competition (NJ and Eastern Division), 2009-‘14.

Judge of Soli Deo Gloria composition competition, 2007.

New Jersey Arts Collective – Nonprofit arts organization Served on Board of Directors, 2006-present. Judged NJAC’s composition competitions for New Jersey high school and college students in 2006, 2007, 2008, and 2013. http://www.njartscollective.org

Manhattan School of Music – Supervised faculty and doctoral teaching assistants in aural skills,

organized curriculum, created and administered juries, entrance and qualifying exams in aural skills. Theory department’s representative for Middle States accreditation evaluation.

College of Staten Island – Organized master classes for visiting composer and performers,

teacher evaluation reports, compiled report on transfer courses within CUNY system, 2003-4.

Rutgers University – Graduate Music Lecture Committee – 1998-2001.

In charge of bringing guest speakers to campus for colloquia events. Guests included: Augusta Read Thomas, Joel Lester, Stuart Saunders Smith, and Joseph Straus.

 

Professional Affiliations

Society for Music Theory and Music Theory Society of the Middle Atlantic

League of Composers/ISCM (Board of Directors)

New Jersey Arts Collective (Board of Directors)

ASCAP