Archive for the ‘Orchestral’ Category

Threnody for Democracy

Saturday, November 2nd, 2024

Threnody for Democracy: “What You Can Do,” premiered by the San Francisco Contemporary Chamber Orchestra (SFCCO) on November 2nd, 2024, is a cautionary tale that explores the fragility of the American experiment and the ease with which it can be led toward authoritarianism. It reflects on how fear and past failures have, at times, allowed segments of the population to be manipulated, disregarding warnings and succumbing to empty promises. In an era of heightened political division, I felt compelled to delve into the struggles democracy faces, layering historical voices into a composition that mourns but also empowers.

Musically, “Threnody for Democracy” is inspired by Steve Reich’s phase tape works, such as “Come Out” and “It’s Gonna Rain“, as well as his “Different Trains“. I consider this work a “concerto for digital tape,” with carefully chosen presidential quotes that span from Franklin Delano Roosevelt to Joe Biden. These voices resonate with a mix of hope, disappoint and warning, illustrating moments of courage and caution. To select the quotes, I spent hours listening to archival speeches, allowing certain excerpts to emerge organically, while others appeared only after deep listening.

The structure of the work consists of an introduction, three main sections—“Resilient Nation,” “Confronting Our Shadows,” and “Dawn of Hope”—and a coda. Interwoven throughout are melodic references to Gregorian chants for requiems, subtly reinforcing the narrative.

“Resilient Nation” starts by examining the endurance of democratic ideals, while cautioning against the fear that can erode them. The segment includes “Fear” and “What You Can Do,” which highlights the need for individual action. Here, the music takes on a rhythmic urgency, with phasing and electronic effects underscoring democracy’s fragile structure.

“Confronting Our Shadows” delves into the darker side, reflecting on times of selfishness and division. A repeated refrain of “false” captures the cycle of deception that can threaten democratic values. Through discordant tones and shifting rhythms, I wanted to create a sense of discomfort, a reminder that democracy’s health requires constant vigilance.

The final section, “Dawn of Hope”, brings a message of optimism and the potential for rectification. It transitions from the darker tones of the previous sections with a reflective quote from Eisenhower, followed by uplifting contributions from Obama and Reagan. Musically, there is a recapitulation of earlier themes that ties the work together, musically embodying the capacity for change and improvement.

In Threnody for Democracy, I hope to encourage reflection and a renewed commitment to action. This piece is both a eulogy and a call to arms—a reminder that democracy is not a given, but something we must actively work to sustain.

Threnody for Democracy: "What You Can Do"

⚠ Content Warning: This content contains presidential quotes with explicit language & references to inappropriate behavior, which may be disturbing or offensive to some viewers.

For deeper insights into the inspiration behind Threnody for Democracy, feel free to explore my thoughts further on my blog.

List of Quotes (in order of appearance):

Trump: “I did try and fuck her, she was married, you know I’m automatically attracted the beautiful, I just start kissing them and when you’re Star, they let you do it. You can do anything, grab ’em by the pussy.”

FDR: “… let me assert my firm belief that the only thing we have to fear is — fear itself.”

Bush Jr.: “Terrorist attacks can shake the foundations of our biggest buildings, but they cannot touch the Foundation of America.”, “A great people has been moved to defend a great nation.”

JFK: “… and so my fellow Americans, ask not what your country can do for you ask — What you can do for your country.”

LBJ:The Great Society rests on abundance and liberty for all. It demands an end to poverty and racial injustice,…”, “It demands an end to poverty and racial injustice, to which we are totally committed in our time.”

Clinton: “False”, “I did not have sexual relations with that woman.”, “I never told anyone to lie.”

Nixon: “… because people have got to know whether or not their present is a crook. Well I’m not a crook.”

Trump: “I need 11,000 votes, gimme a break.”, “I just want to find eleven thousand, seven hundred & eighty votes. Which is one more then we have.”, “I will totally accept the result of this great presidential election — If I win!”

Eisenhower: “The potential for the disastrous rise of misplaced power exists and will persist. We must never let the weight of this combination endanger our liberties or democratic processes.”

Trump: “When somebody’s the president of the United States, the authority is total.”, “Get rid of the ballots and you’ll have a very peaceful—there won’t be a transfer, frankly, there’ll be a continuation.”

Eisenhower: “In the councils of government, we must guard against the acquisition of unwarranted influence…”, “…endanger our liberties or democratic processes.”

Obama: “We have seen is that America can change, that is the true genius of this nation. What we have already achieved gives us hope. The audacity to hope, for what we can and must achieve tomorrow.”

Reagan: “Tear down this wall.”

Biden: “We are a nation of promise and possibility”, “…power is in your hands.”

Trump: “…in four years, you don’t have to vote again. We’ll have it fixed so good, you’re not gonna have to vote.”

Biden: “George Washington showed us Presidents are not kings.”, “… whether the Founders had given America a monarchy or a republic, Franklin’s response was, ‘A republic, if you can keep it.'”, “…kings and dictators do not rule.”

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Open Ended @ the Skronkathon 2024

Sunday, September 1st, 2024

The San Francisco Composers Chamber Orchestra (SFCCO) was invited to perform at the 2024 Skronkathon New Music Festival. Originally launched in 2001 at the Tuva Space storefront near the Ashby BART station, Skronkathon is an all-day marathon showcasing experimental and unconventional music from some of the Bay Area’s most creative musicians, often pushing the boundaries beyond mainstream tastes. I had the pleasure of performing at Skronkathon years ago when it was a more casual affair, complete with BBQs outside. This year, the event featured 19 acts spread across two stages: the Dresher Ensemble Studio and a second warehouse/loft space in the same building.

For our performance, we chose my composition Open Ended, which I felt aligned perfectly with the festival’s character. I conducted/composed the performance and played the Zurna—a double-reed woodwind instrument I picked up in Istanbul, known for its bright, high-pitched, and somewhat “squonky” sound.

Open Ended is a unique, versatile work where the composition unfolds live in front of the audience. Inspired by Rova’s Radar techniques, the piece is more of an open palette of sounds and tools rather than a set composition. As the conductor/composer, I use hand signals to guide the performers and shape the piece in real time. The beauty of this work lies in its flexibility—it can be performed by any combination of instruments, with no set instrumentation. For this performance, we had a rich mix of 2 woodwinds, 2 brass, 2 strings, a piano, and a vocalist, giving us a diverse array of sounds to explore.

We performed Open Ended twice, and as always, each rendition was a completely unique experience for both the audience and the performers.

Open Ended (2024 v1)

Open Ended (2024 v2)

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Sun & Moon: Eclipse Variation

Saturday, May 4th, 2024

Sun & Moon: Eclipse Variation is a work deeply rooted in the concept of circle-music. This form of music embraces a structure where phrases can be performed in any sequence or timing, offering a rich tapestry of sound that defies traditional musical narratives. This new iteration reimagines a piece I first composed in 2008, offering a fresh performance map inspired by celestial mythology and the natural phenomena of eclipses.

Eclipse Variation Performance Map

Throughout history, the sun and moon have symbolized masculine and feminine energies—yin and yang. In Greek mythology, Helios (the sun) and Selene (the moon), who also lend their names to my cats, personify these celestial bodies. According to legend, a jealous Selene once eclipsed Helios, casting a shadow over Earth. This act was seen by some as ominous, and by others as a reminder of the eternal cycle of light and darkness.

This mythological tension is mirrored in cultural interpretations of solar eclipses across the world. From ancient China, where people banged drums to scare off a sun-swallowing dragon, to the Choctaw legend of a mischievous squirrel gnawing on the sun, and the Pomo’s tale of a bear arguing with the sun over who should move out of the other’s path—an argument that escalates into a fight, symbolizing the eclipse—these stories enrich our understanding of eclipses.

Today, we know that a total eclipse occurs due to a rare celestial alignment where the moon, though 400 times smaller, perfectly covers the sun due to its precise distance from Earth. Intriguingly, this phenomenon is not everlasting; the moon is gradually drifting away from us, predicting an eventual end to total solar eclipses in about 600 million years.

Sun & Moon: Eclipse Variation captures these diverse perspectives through a unique auditory experience. The composition, inspired by the solar eclipse on April 8, 2024. It begins with a vibrant music representing the sun at its zenith, which is gradually overshadowed by a darker, mysterious music symbolizing the moon. For 3 minutes and 51 seconds—the exact duration of totality in Dallas, TX—the moon’s music prevails, enveloping the soundscape in a profound quietude. As totality passes, the sun’s music gradually reemerges, reclaiming its place in the sonic hierarchy.

Through this piece, listeners are invited to experience the awe of an eclipse, not just as a visual spectacle, but as a profound auditory journey that encompasses the mythical, natural, and scientific dimensions of this celestial event.

Sun & Moon: Eclipse Variation

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Through the Looking-Glass with Mark

Saturday, March 16th, 2024

In an extraordinary collaboration, six composers joined forces to conceive a seven-movement work titled Variations on Overture to Antigone (In Honor of Dr. Mark Alburger), a tribute to the esteemed Dr. Mark Alburger. My contributions bookend this collective opus, with the first and final movements under my authorship. The inaugural movement serves as more than just an introduction; it is an abbreviated arrangement of Dr. Alburger’s Overture to Antigone to set the thematic foundation for what follows.

Delving into the heart of my creative process, Through the Looking-Glass with Mark draws palpable inspiration from Philip Glass. This piece not only honors the structural ingenuity of the original work, notably through the clever use of the inverted BACH motif, but also weaves in a personal narrative. A subtle yet profound layer is introduced by embedding the names of Mark and my surname in Morse code within the composition, crafting a hidden dialogue between the notes.

In a poignant nod to my personal history with Dr. Alburger, the alto saxophone and bassoon lead the lament section, instruments that I have often played in his works. This choice serves to intertwine my artistic identity with the legacy of Dr. Alburger, ensuring that the piece resonates with both tradition and individuality.

For those intrigued by the nuances of this memorial piece, further insights into the genesis of my variation can be found in the Crafting My Variation for Dr. Mark Alburger’s Memorial post, under my In Progress section of my website. This space is dedicated to unraveling the layers of thought, emotion, and technique that shaped my contribution to this collaborative homage.
The SFCCO premiered this work on its Leaving a Mark, Memorial concert on March 16, 2024.

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Open Ended: Mark Alburger Variation

Saturday, November 4th, 2023

Open Ended is a dynamic performance crafted live for the audience. Inspired by Rova’s Radar techniques, Open Ended is more of a vibrant palette than a fixed composition. It’s an expanding set of guidelines and games for the musicians, directed by the conductor’s hand signals. Rather than following a predetermined script, the conductor composes on the spot, responding to the present moment and guiding the performers with these signals. This concept mirrors the “Soundpainting” language, a pioneering creation by Walter Thompson in Woodstock, New York, 1974. The beauty of Open Ended lies in its adaptability. With no fixed instrumentation, any number of musicians can partake. The duration is equally fluid, ranging from a brisk 5 minutes to a marathon 24 hours. Though it has been showcased several times, with memorable renditions in 2005, 2009, and 2018 by the SFCCO, each performance is a unique, unrepeatable world première. This rendition of Open Ended includes a special homage to SFCCO founder, Mark Alburger. I have crafted two variations of three phrases, each inspired by the Morse code sequence for ‘Mark George Alburger.’

– – .- .-. -.- / – -. . – – – .-. – -. . / .- .-.. -… ..- – -. . .-.

Rhythm is created by assigning the dashes, or long signals in Morse code, twice the note value of the dots, which represent the short signals. The audience was then given the opportunity to choose which version they wanted to hear incorporated into this performance of Open Ended.

Open Ended: Mark Alburger Variation

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10 Circles

Saturday, October 22nd, 2022

10 Circles

While most are familiar with abstract art and dance, how does that translate to music? Imagine if music were not bound by a linear sequence but played in a random order, resulting in a unique experience every time. Or consider music performed in multiple tempos simultaneously, embracing Albert Einstein’s theory that time is relative and varies based on your perspective.

10 Circles delves into these fascinating ideas through the lens of circle-music, a form I discovered through my composition teacher Dr. Cindy McTee. McTee’s own circle-music composition for my bassoon teacher, Sue Schrier, inspired this exploration. This piece is composed of ten distinct sections, each containing musical phrases that can be played in any sequence at any time. This fluid approach to composition requires a novel style of conducting. Here, the conductor is more than a timekeeper; they sculpt the piece in real-time, influencing its orchestration.

The musicians navigate their own routes through the sections, guided by the surrounding sonic landscape. While themes may reappear, their occurrence and interpreter are entirely unpredictable. 10 Circles employs quartal chords and octatonic scales, creating a sense of tonality that is tangible yet abstract. The result is a work that challenges and redefines our understanding of musical time and structure.

10 Circles

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2nd Movement of Symphony No. 4 “Deconstructing Beethoven”

Saturday, May 28th, 2022

Symphony No. 4 “Deconstructing Beethoven” is an exploration into the hypothetical: what if Beethoven were to time-travel to the present and assimilate over 200+ years of musical advancements? How would his compositions sound in this new context? In the second movement, I draw inspiration from the Allegretto of Beethoven’s 7th Symphony, a personal favorite as a bassoonist, particularly for the character of an anguished lament.

In this movement, I employ techniques introduced in the first movement, such as conflicting rhythms that create a palpable tension. The idea was to deconstruct Beethoven’s original piece, distilling the melody to its core and infusing it with an aleatoric character, consistent with the overarching themes of the symphony.

Heart beat rhythm

Heart beat rhythm


A key element from Beethoven’s Allegretto, the march rhythm of one long note followed by two short ones, is occasionally referenced. However, I predominantly utilize a heartbeat rhythm, prominently featured in the timpani and bass drum following the opening chord.

Inverted five notes






The five-note rhythm from the first movement is inverted and slowed down, adding a subtly unbalanced rhythmic feel as it morphs into a 3 against 2 pattern. Time manipulation is another technique used, with instruments echoing similar phrases asynchronously. The harmonic language is expanded through the use of whole tone and octatonic scales, along with the addition of “extra” tones to chords for a more modern, richer sound. Beethoven kindly provided me a fugue section, which helps to link this movement with the 4th and some rhythms appear in the 2 moment that reappear in the 3rd. Despite these innovations, Beethoven’s original genius periodically emerges, maintaining a link to the classical source while reimagined in a contemporary light.

II. Allegretto

The SFCCO premièred this movement on May, 28th 2022.

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Symphony No. 4 “Deconstructing Beethoven”

Monday, June 3rd, 2019

Most American orchestras predominantly feature European composers from the 18th and 19th centuries, with American compositions, especially contemporary ones, being a rarity. In response, I composed Symphony No. 2 “Mozart ist Tot!” in 2003, expressing my desire for reinvention rather than repetition in classical music performances. Similarly, Symphony No. 4 “Deconstructing Beethoven” is a continuation of this concept, aimed at reinvigorating the works of Beethoven for modern audiences. Currently, Amazon lists hundreds of recordings of Beethoven’s 5th Symphony. Yet, upon listening, one might find strikingly minimal variation in the interpretation and execution across these numerous versions. This symphony imagines Beethoven time-traveling to the present, absorbing over 200+ years of musical advancements.

I. Allegro con brio


The first movement, inspired by Beethoven’s iconic 5th Symphony, follows its original form and orchestration but drifts towards a sound reminiscent of Carl Ruggles. It incorporates a decaphonic series for themes but eschews a serial approach. I expanded the famous four-note motif to five or ten notes and introduced complex rhythms to restore the original’s element of surprise, now diminished by its familiarity. This movement strikes a balance between echoing the original and standing as a new, distinct piece.


III. Tempo di Menuetto



The third movement reimagines Beethoven’s 8th Symphony’s Minuetto. Using a computer program, I performed a sonic reduction of Bernstein’s live performance of this movement, distilling the music to its essential lines and rhythms. In places where the reduction left gaps, I inserted Beethoven’s original parts. This foundation was then orchestrated in a Webern-like fragmented style, with modernist percussion influenced by Varese, creating a mosaic of sonic textures blending the familiar with the new.

Currently, the symphony is a work in progress, with the second and fourth movements under development. The second will draw on Beethoven’s 7th Symphony’s Allegretto, approached aleatorically, while the fourth is planned to be a fusion of Beethoven’s 3rd Symphony’s finale and Hindemith’s style. The SFCCO premiered the first and third movements at its concert on May 4, 2019.

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Open Ended (5/5/2018)

Saturday, May 19th, 2018

Open Ended

 
Open Ended is a very versatile work that is composed live before your eyes and ears. Based on Rova‘s Radar techniques, Open Ended is less of a composition and more of a color or tool palette. It is an ever-growing collection of rules and games for the performers that are triggered by hand signals by the conductor/composer. The conductor/composer then composes the piece live using these hand signals to guide the performers. The ability to compose with what happens in the moment, in real time, is what is required to produce this piece. This similar to the “Soundpainting” language was created by Walter Thompson in Woodstock, New York in 1974. This work has no set instrumentation and can be played by any number of performers. It also has no set length; the piece could last 5 minutes or 24 hours. Open Ended has been performed several times, including performances in 2005 and 2009 by the

   SFCCO, but every time it is a world première and unique performance that can never be repeated.

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Fantasy in D

Thursday, April 21st, 2016

Fantasy in D is a musical composition that embraces the spirit of a fantasy — characterized by its free form and an improvisational style. Tracing its roots to early 16th-century fantasias, this piece evolves the concept by involving short sections driven by one or more musical motifs. True to the fantasy tradition, it uniquely integrates orchestral improvisation. Performers are provided with collections of notes or instructions, and are encouraged to improvise within these guidelines for set durations.

Fantasy in D

Pages from the score

The structure of Fantasy in D is a blend of improvisation and fully notated music. While certain sections are strictly composed, others offer musicians the freedom to explore. A recurring element is a three-note motif, especially pronounced at the piece’s climax. The composition is divided into two primary sections, with the second being an inversion of the first (b+a instead of a+b). This overarching structure is further broken down into 64 smaller sections, following a hierarchical breakdown (2-4-8-16-32), each triggering unique events, textures, chord changes, and instrumentations.

Score Draft Notes

Score Draft laying out the Golden Ratio

The timing of each section is guided by the “Golden ratio“, φ (phi) or 1.6180339887498948482…, celebrated for its prevalence in natural patterns and lending an organic quality to the piece. While the tonal center is D, the piece navigates through various modes and tonalities including D, A, B, G, major and minor, creating a sound that is D-centric yet modally diverse, so it is really in D (ish).

Fantasy in D

The mood of “Fantasy in D” is tinged with somber and melancholic undertones, influenced by personal life events during its creation, including the passing of my father and my mother’s battle with pancreatic cancer. This piece, premièring on May 21st, 2016, by the SFCCO is a reflection of these emotional landscapes, woven into its musical fabric.

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