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Twisted Trail Music
 

Large Ensemble Scores
Chamber Music
Electroacoustic Music
Multimedia/Dance Works
CD's

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Large Ensemble Scores
Ascap

Title Instrumentation
Score/Parts
Recording
Symphonie Pastorale 
(2000) 17'
Notes/Performance History
Large Orchestra
3333/4331/timp, 4 perc, pno, strings
Sale/Rental
Rental
Yes
"Out of crooked timber..."
(2000) 9'
*Commissioned by the UMKC Accordion Orchestra, Joan Sommers, Director*
Notes/Performance History
Accordion Orchestra with Soloist
Sale
Rental
Yes
Character Sketches From the High Country 
(1995) 15'
Notes/Performance History
Chamber Orchestra
2222/211/timp, 1 perc, pno, string
Sale/Rental
Rental
No
Portrait: North and South Maroon
(1998) 10'
*Commissioned by Northeastern State University, Tahlequah, Oklahoma
Robert Carnochan, Conductor
Notes/Performance History
Wind Ensemble
Sale
Rental
Yes
Shapes of Wind 
(1997) 15'

*DMA Dissertation
Notes/Performance History
Wind Ensemble
Sale
Rental 
Yes
Citlaltepetl 
(1992) 18'
Notes/Performance History
Wind Ensemble
Sale
Rental
Yes

Chamber Music Scores
Ascap
Title Instrumentation
Score/Parts
Recording
Improvisations 1-3 (2004) 8'
**written for the 12th Van Cliburn Piano Competition, Composer's Initiative**

solo piano
Sale
NA
No
Circus
(2004) 25'
**commissioned by The American Composers' Forum, Jerome Commissioning Program for Calliope*
entertainment in 9 movements for flute and piano
Sale
Sale
No

Marsden Hartley Songs
(2003) 7'

**commissioned by the Nelson Atkins Museum of Art
Text by Marsden Hartley (by permission of Yale University Press)

soprano and piano
Sale
Sale
Yes

Scrum
for very mixed quintet
(2002) 9’
Notes/Performance History
Bass Clarinet, Tenor Saxophone, Accordion and Organ
Sale
Sale
Yes
Banging on Cans
(2002) 8’30"
Notes/Performance History
Percussion Ensemble
Sale 
Sale
 Yes
Four Mile Creek 
(1997) 6'30"
Notes/Performance History
Violin, Guitar, and Vibraphone
Sale
Sale
Yes
String Quartet No. 1 
(1994) 20'
Notes/Performance History
String Quartet
Sale
Sale
No
Rhapsody for Two 
(1998) 6'
**commissioned by Douglas Beilman and Joanna Hood for the 1999 Chamber Music New Zealand Festival**
Notes/Performance History

Violin/Viola duo
NA
Sale
Yes


Electroacoustic Music Performance Materials
Ascap
Title Instrumentation
Score/Parts
Recording
Thema: Omaggio
after Berio
(2002) 8' 53"
Winner of the 2002 EMS Prize
Notes/Performance History
Tape alone
NA
NA
Performance CD Included
Yes
Wood, Wind, Water, Earth 
(2001) 12’ 
**Commissioned by Meet the Composer for Music From China**
Notes/Performance History
Dizi, Erhu, Yangqin, and Tape
Sale
Sale
Performance CD Included
Yes
Fantasie
(2000) 12'
**Commissioned by Music from China**
Notes/Performance History
for Erhu and Recorded Ensembles on Tape
NA
Sale
Performance CD Included
Yes
Church Keys
(1999) 12'
**Commissioned by the Missouri Music Teachers Association**
Notes/Performance History
Piano and Tape
NA
Sale
Performance CD Included
Yes
Degrees of Separation "Grandchild of Tree"
(1999) 10'
Notes/Performance History
Amplified Cactus, Effects, and Tape 
(MSP version also available)
NA
Sale
Performance CD Included
Yes
Remnants
(1998) 13'
Notes/Performance History
Tape Alone
NA
NA
Performance CD Included
Yes
"....and every island and mountain were moved out of their place..." 
(1998) 10'
Notes/Performance History
Trumpet, Amplified Open Piano, and Tape
NA
Sale
Performance CD Included
SCI CD No. 16 INSPIRATIONS [CPS8690] 
www.societyofcomposers.org
Parallax 2 "Apparitions"
(1997) 11'
Written for Craig Hultgren
Notes/Performance History
Fine Lines for Cello and Tape
NA
Sale
Performance CD Included
Parallax 1 "Violin"
(1996) 15'
Notes/Performance History
Violin and Tape
NA
Sale
Performance CD Included
Yes
Geographic Bells 
(1994) 7'
Notes/Performance History
Soprano Saxophone and Tape
NA
Sale
Performance CD Included
Yes
18700 
(1992) 6'20" (long version 11')
Composed at the Aspen Music Festival
Notes/Performance History
Tape Alone
NA
NA
Performance CD Included
Yes

Multimedia/Dance Works
Ascap
Title Instrumentation Score/Parts Recording
Polyglot 
(1997) 12'
Co-created by Shannon Bradford (choreography) and Paul Rudy
Notes/Performance History
Dance and Music
NA
NA
CD Available upon request
Trio for Three 
(1995) 16'
Notes/Performance History
Movement, Sound, and Light: an inter-media contrapuntal work
NA
NA
CD Available upon request
Dance Suite 
(1995) 17'
Four Pieces for dance from Water into Light incidental music

1. Prologue
2. Lynn's Song
3. Lydia's Song
4. Epilogue

Notes/Performance History
Dance Work
NA
NA
CD Available upon request

 
CD's
  Hultgren CD
ELECTRO-ACOUSTIC CELLO BOOK--Music From the Setting Century Series 

LIVING ARTIST Recordings 
Electro-Acoustic Cello Book--LAR#4 
Centaur CD


Degrees of Separation "Grandchild of Tree" 

Capstone CD
"...and every island and mountain 

were moved from their place..." 

SCI CD No. 16 INSPIRATIONS [CPS 8690] 

http://www.capstonerecords.org/CPS-8690.html


 
 
Publisher Member  
Ascap   ASCAP

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 Notes and Performance History

[Symphonie Pastorale] [Character Sketches]  ["Out of crooked timber..."]
[Citlaltepetl] [Portrait] [Shapes of Wind]
[Improvisations 1-3]  [Circus]   [Marsden Hartley Songs]
[Scrum] [Banging on Cans] [Four Mile Creek] [String Quartet No. 1]
  [Rhapsody for Two]
[Thema: Omaggio] [Wood Wind Water Earth] [Fantasie] [Church Keys] [Degrees of Separation "Grandchild of Tree"]
["...and every island where moved from their place..."] [Geographic Bells] [Parallax 1 "Violin"] [Parallax 2 "Apparitions"] [Remnants] [18700]  [Polyglot] [Trio for Three] [Dance Suite]


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Symphonie Pastorale 

Premier: UMKC Conservatory Orchestra, Robert Olson, cond., October, 2000
Selected for the 2003 American Composers' Orchestra Whitaker Reading Sessions

I put numerous other projects aside, to begin composing Symphonie Pastoral in October of 1999.  For a long time I was familiar with Handel’s Messiah, which I sung as a child and still listen to during the holiday season every year.  The beauty and simplicity of the Pifa, or pastoral symphonie in the first part (no. 13), always reminds me of the most important things about the music I like: a simple immediacy yet with a deeper sense of beauty and connectedness.  I chose, as a result, to bring Handel’s simple little interlude into my work as a gesture of respect, and also as a point of departure, both psychologically, and musically.  You will hear the Pifa in its [almost] original form two thirds of the way through, in a bow of respect, and all of the other material is generated from this simple 11 bar tune.  As with much of my music lately, I seek to make more complex structures out of relatively uncomplicated things.  Here, I have simply tried to stretch the Handel Pifa far beyond its original intent, as if looking at each beautiful moment through a magnifying glass.

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Character Sketches

Premier: DaCapo Chamber Orchestra, Mark Hodgkinson, cond., Christchurch, New Zealand, May 23, 1998.

Character Sketches From the High Country (1995) stem from the Colorado Etudes for solo piano written in 1992. In the original piano version there were five etudes, one for each elevation life zone in the central Rockies. These have been recast into four Character Sketches for Chamber Orchestra. 
 

I. Distantly Rising Ramparts
II. Ridges, Valleys, and Parks
III. Islands Beneath the Sky
IV. The Edge of Earth (and Sky)

Initially the piano etudes were a representation of emotional responses to the life zones (divided by elevation) in Colorado. In the Chamber Orchestra version these responses have been expanded to incorporate more general characterizations of these "life zones" in the Colorado landscape. Distantly Rising Ramparts refers to the mountains as seen from a distance in the rolling eastern plains. The Colorado interior, within the heart of the Rockies, contains thousands of Ridges, Valleys, and Parks, (open meadows ranging from a hundred square feet to many square miles) in an endless labyrinth lending relief and variety to the flatter plains in the east and mesas in the west. As one travels higher, thick conifer forests give way to thinning aspen groves and bristlecone pines until one reaches the Krummholz communities of plants and flag trees stretching even beyond tree line. The Krummholz (German for elfin timbre) form, with other plant life, small Islands Beneath the Sky. That these plants survive, battered by wind blown ice crystals in the winter and freezing temperatures even in the summer, is almost beyond comprehension. Above these, smaller plants continue to grow even to the Edge of the Earth, where the highest summits reach for the troposphere in peaceful setting of quiet. 


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"Out of crooked timber..."

~Commissioned by Joan Sommers and the UMKC Conservatory of Music Accordion Orchestra.
Premier: International Association of Accordion Teachers Conference, Chicago, July 2000.

I was immediately struck by the phrase from Immanual Kant’s idee zu einer allgemeinen Geschichte in weltbürgerlicher Absicht (1784): "Out of the crooked timber of humanity no straight thing can ever be made." My hope was (and is) that humanity pass from its adolescence marked with violence, trauma, and moody tantrums into a more stable adulthood of diplomacy, compassion, and kindness.  Sound mass becomes a metaphor for the unhewn timber out of which I try to mill something straight.  In the end, straightness becomes a matter of relativity balanced between the pessimism of Kant’s view and my hopeless romantic optimism. 

Duration 9'
 
 

Other Performances:
-25th Anniversary Celebration, Sibelius Academy, Helsinki, Finland, Oct. 27, 2002 
-UMKC Accordion Orchestra 40th Anniversary Concert, April 29, 2001
-SCI Region VI Conference, Lied Center, Lawrence, Kansas, March 31, 2001
-Musica Nova, UMKC Conservatory, September, 2000

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Citlaltepetl

Premier: The University of Colorado Wind Ensemble, Allan McMurray Conductor, September, 1994.

Citlaltepetl (Nahuatl for The Star Mountain), also known as Pico de Orizaba, is an extinct volcano rising 18,700 ft. above the central Mexican plateau. To the Aztecs, the mountain was a source of awe for it's connection with the legend of Quetzalcoatl (Aztec god of learning and priesthood), who was consumed in the crater by divine fire, assumed human form, and sailed across the ocean to return one day in the future. The name is derived from these spiritual associations along with the physical appearance of the alpine glaciers on it's slopes which glisten in the early morning and late day sun. 

Citlaltepetl was composed after a trip to Mexico and an ascent of the mountain in 1992. The many emotional, physical, and psychological pressures which happen at high elevations provide the impetus behind many of the musical gestures in the work. The lack of oxygen combined with the physical exertion required to climb at that elevation often lead to distortions in perception. Everything around you (including yourself) appears to be in slow motion, as if time is suspended and the laws of nature do not exist. There is also a sensation of great heaviness, a direct result of the exertion, which is contradicted by the "lightness" of the thin air. These (and many other) sensations where at the forefront of my thinking while composing Citlaltepetl. as remembrances of the event, and translate musically into textures or fabrics of sound interspersed with moments of "reality." 
 
 

Other Performances
-The University of Texas Wind Ensemble, Jerry Junkin conductor, October, 1995.

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Portrait
North and South Maroon

~Commissioned by Northeast State University, Tahlequah, OK, Robert Carnochan, cond..
Premier: Northeastern State University Wind Ensemble, Robert Carnochan, cond., April 30, 1998.

Portrait was commissioned for the Northeastern State University Wind Ensemble (Tahlequah Oklahoma), and was composed in Wellington, New Zealand while on a Fulbright Fellowship. Towards completion of the work, I began to search in earnest for an appropriate title to sum up not only the work itself, but the process of evolution that the material had gone through since conception. I realized that while composing, I had repeatedly referred to a mental image or snapshot of the Maroon Bells in central Colorado. This mental picture of Colorado's most photographed mountains became the reference point for many of my compositional ideas. The image includes Crater Lake at the base of the mountains which, on a calm day, perfectly mirrors the rocky summits, while only a slight breeze causes an impressionistic melting of lines, shapes, and colors. I soon discovered, that not only does the theme of Portrait outline the shape of the reflected mountains, but also, much of the manipulation of material occurs in a mirroring fashion. While I never intended to "compose my mental image," the image, none-the-less, became the model for many of the decisions required during the compositional process. 
 
 

Other Performances
-University of Colorado Wind Ensemble, Robert Carnochan, cond., March 23, 2000.
-UMKC Wind Ensemble, April 22, 1999.
-SCI Region VII Conference, Honolulu, HI, Grant Okamura, cond. March 12, 1999.

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Shapes of Wind

Premier: UMKC Conservatory Wind Ensemble, Sarah McKoin, cond., December, 2001.

Shapes of Wind is based on " I Will Sing of My Redeemer," a simple hymn which I remember singing in church as a child. The hymn, as raw material, takes on many shapes, changing direction and speed much like the wind in the natural environment. The treatment of material metaphorically represents physical and spiritual changes one experiences throughout life, and seeks to synthesize all of my past and present musical experiences. Shapes of Wind is in two large sections and begins with fragments of the tune as if remembered through the hazy distance of time. In the first half, these fragments are treated as individual building blocks for contrasting textural and rhythmic constructions which focus on the development of timbre. These textural and timbral abstractions of the tune coalesce into the hymn, set in the original harmonization at the middle of the work. The second half focuses on transforming the hymn from a naive simple musical object into a more informed contemporary musical fabric related to the abstract material of the first half. 


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Improvisations 1-3

~ Written for the American Composers’ Invitational of the 12th Van Cliburn International Piano Competition ~

Program Note

For years, I have enjoyed spending hours at the piano improvising.  These sessions opened my ears and taught me that there is no sound the piano can produce that is not resonant and beautiful.  This richness of resonance in any combination of notes, thick/thin, wide/narrow, fast/slow, short/long…is unique to the piano.  For some time, I have also been interested in the intersection of composition and improvisation.  Improvisations 1-3 is the result of a many years of trying to bring these two loves together.  The process for this work began with my own improvisations on a midi piano, gathering material much like I would in the studio.  From that source material, the composition unfolded in a process through shaping bits and chunks of music much like I would an electroacoustic work.  The result is a thoroughly composed composition which maintains some of the playful spontaneity of the original improvisations, and capitalizes on what the piano does best: sing its amazing sounds.  Special thanks to Ben Broening for use of his Disklavier!

Performance Note

It is far more important that Improvisations 1-3 be played in a relaxed, improvised sounding style.  All sections can be played with considerable freedom, and the tempos marked are merely targets, not absolutes.

Duration: ca. 9’




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Circus
Entertainment in 9 movements

Commissioned by the American Composer's Forum Jerome Composer Commissioning Program for Calliope (Shannon Wettstein and Elizabeth McNutt)

   I.    Parade
  II.    Gladiators
 III.    Animals
 IV.    High Wire
  V.    Side Show
 VI.    Clowns
VII.    Speed
VIII.    Big Top
  IX.    Calliope


The modern day circus has it’s root in ancient Greece, Rome and China. Olympic games and contests date to 8th Century BC in Greece and the first parades and pageants associated with gaming and contests originated in 4th Century Rome (I. Grand Parade).  Battle reenactments and contests to the death were a prominent part of the blood thirsty Roman entertainment industry until outlawed by Constantine in AD 326 (II. Gladiator Race).  Animal farms for entertainment sake originated in 12th Century BC China and animal training dates back to ancient Egypt (III. Animal Show).  Chinese contortionists and human tricksters (originating after killing was outlawed in the Coliseum) predate the contortion artists, trick riders and trapeze artist (Italian "Funambuli" of the Renaissance) reinvigorated in 18th Century England which are still part of the Ringling Brothers and Barnum and Bailey Circus today (IV. High Wire).  Side shows, or "freak shows" originated in the Medicine Shows of Medieval Europe (as early as 1133, Smithfield, London) which included juggling acts, acrobatics and sword swallowing (V. Side Show).  In a related way, clowns evolved out of the improvisational spirit of the post bloodbath Roman games, as well as the 16th Century Italian "comedia del arte" and also had a connection to the religious based Medicine shows of Medieval Europe with the devil as comedian or trickster (VI. Clowns). The most contemporary extension of this ancient entertainment industry is the amusement park with rides, games, theme base characters, and roller coasters which allow attendees to experience the speed and agility previously only attainable by trained professionals (VII. Speed).  The modern day circus combines all of these elements into a single show, sometimes with three rings of entertainment happening simultaneously (VIII. Big Top).  Music has always been associated with the circus, and so the finale of this musical tour is based around the late 19th century unassuming (perhaps even nostalgic), imperfectly tuned tin whistle organ used to gain peoples attention and gather them around the next attraction (IX. Calliope).  




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Marsden Hartley Songs

Fisherman’s Last Supper is about human love for the ocean despite its dangers, and loss in its depth.  It was commissioned by the Nelson-Atkins Museum of Art for a concert in conjunction with an exhibition of Marsden Hartley’s paintings in 2003/4.

For wine, they drank the ocean
for bread, they ate their own despairs
counsel from the moon was theirs
for the foolish contention

Murder is not a pretty thing
yet seas do raucous everything
to make it pretty-
for the foolish or brave,
a way seas have.

Bach for Breakfast

The polyphonic music of Bach has always sounded somewhat mechanical, and that is the aspect I have tried to capture in this song.  The text by Hartley, whimsical on one level, reverent on another and yet slightly cynical contributes to robotic almost detached quality of the music here. 


B is for Bach
And all his sons,
Who wrote square music for nave and loft,
For arch and for aisle,
For all the lost, forsaken things
No other sound will save

Bach for the blest,
Who seeks no more his peace,
But finds in this sure, square music
Sound made logical solace for the swelling earth, and climbing sky

Sound that gives such decent reason
Why a sound should be form in form,
Logic over taking night,
Setting the senses in a row, perfecting the orderly march.

I never heard a stone peal forth,
I never heard a bell go crashing toward the day,
The incandescent news to tell,
Until the Bach’s brought word
The very shape of things to praise.

Text used by permission, Yale University Press
 

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Scrum

Premier: newEar, St. Mary’s Episcopal Church, Kansas City, Nov. 9, 2002

Shoulder to shoulder
Pushing, shoving, inching the pack
Brute force against brute force
Opposed wills, muscles
Equilibrium 
Spring tight
Balanced energy
Released!

Chain reaction 
Running
Organized 
Strategy?
Collision
Collusion
Finesse 
Brutality
Survival of the fittest!

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Banging On Cans
Premier: UMKC Conservatory Percussion Ensemble, James Snell, cond., February 25, 2002.

As a kid, I used to make drum sets out of plastic ice cream containers, tin cans, or any other objects that would make an interesting sound.  Each percussionist in this work as a result has their very own set of five cans in amongst the more refined instruments from the orchestral tradition.  Some of the rhythms are reminiscent of my marching band days after I gave up homemade drum sets for a shiny trumpet.  I can still hear some of the cadences we used to march up and down the streets of my home town to for hours each day in the summer. There are many refined moments in this work, but there are also times when the child in me couldn’t resist the days when I would simply sit around and bang on cans!

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Four Mile Creek
Four Mile Creek runs quietly past a small chapel in the mountains on the west side of Pikes Peak in Colorado. The rhapsodic nature of my composition seeks to imitate the ebb and flow of the creek which, in places runs fast and narrow while in others spreads out into deep pools of calm slow water. In either case the creek always seems to contain a gathering energy as it is hurled by gravity down to the plains below.
 
 
Performances:
-Imagine 2000, Memphis, TN, Feb. 25, 2000.
-Aspen Contemporary Ensemble, Aspen Music Festival, July 30, 1999.
-Klondike Steadman DMA Recital, UT Austin, April 24, 1998.
-UT Guitarists Play UT Composers, UT Austin, April, 1998.

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String Quartet No. 1

String Quartet No. 1 is about a journey into the dark tunnel of an unknown experience, and emerging changed, from the other side. Like any journey, there are landmarks along the way some expected and others not. The three movements express these various landmarks characterized by blind energy and frustration in the first movement, to resignation and introspection in the second, and completed by resolve in the third. The musical material alternates between many guises and reflects these emotional states through change in character and altered contexts. As with humans, the music changes orientation based on the experiences which surrounds it.

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Rhapsody for Two

Rhapsody for Two (1998) was written for Douglas Beilman and Joanna Hood to be performed at the 1999 New Zealand Festival of Chamber Music.  The work reflects the spontaneous energy of those it was written for, and is intended to portray a musical conversation which swings through various temperaments.

 

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Thema: Omaggio
after Berio

*Winner: 2002 EMS Prize, Stockholm, Sweden
Premier: The Virtual Concert Hall, Resonance FM, 104.4 London, May 18, 2002.

"Thema: Omaggio" began with a 1’ 45" vocal improvisation recorded in the studio.  This recording served as the basis for a composition in which I explored improvisational methods of working with sound material in the studio. Much of the final work resulted from recorded performance passes manipulating mixes of previously processed material.  The result was a completely satisfying balance of improvisational instincts with compositional craft in an attempt to preserve the human presence and energy often lost in fixed works. Like Berio’s work, variations stem from this theme but in a recursive rather than a linear manner.  Sections of the theme are interspersed throughout followed by variations which encompass the rest of the theme from that starting point.  As a result, Thema ends with the last portion of the theme heard after numerous variations.

Duration: 8’53"
 

Other Performances
-Musica Viva, Coimbra, Portugal, September 18, 2003
-Sonic Arts Network Conference, Sheffield, England, May  31, 2003
-EAR POPPING SOUNDS, Dortmund/Germany during the theatre festival "off limits"; June 2, 3, and 4, 2003
-UnBalanced Connection 25 - "Impulse Response" University of Florida, October 15, 2003
-Discoveries 30, Aberdeen, Scotland, Nov. 2003
-Korean Electroacoustic Music Society International Festival, Nov., 2003
-Music Bytes, Lewis University, Nov. 21, 2003
-SEAMUS, San Diego State University, March 25, 2004
-Belgium Music Event, Morelia, Mexico, May, 2004
-Soundings, Reid Concert Hall, Bristo Square, Edinburgh, Scotland, Oct. 30, 2004: Thema
-ICMC, Miami, Nov. 5, 2004


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Wood Wind Water Earth

*Commissioned by Meet the Composer for Music From China
Premier: Music From China New Works Series, Merkin Hall, NYC November 17, 2001.

wood, wind, water, earth (2001) combines the real qualities of the materials the instruments are made out of, with corresponding sounds in the recorded electroacoustic part comprised of a virtual percussion ensemble. The acoustic part of the work is a dalliance in the sounds of the title, with an attempt to focus on the ability of traditional Chinese instruments to either mimic or suggest moving forces of nature.  The virtual portion, while also envisioning some similar elements, is more suggestive of human intervention and interaction with the natural world.  Shapes emerge suggestive of nature, but are juxtaposed with less natural, metallic sound worlds.  These ideas stem from both the terrain (and all the wood, wind, water, and earth along the way), and the experience of hiking to the Conundrum Hot Springs near Aspen, Colorado. 

wood, wind, water, earth was commissioned for Music From China as part of the national series of works from Meet The Composer Commissioning Music/USA, which is made possible by generous support from the National Endowment for the Arts, The Helen F. Whitaker Fund, The Chatherine Filene Shouse Foundation, and the Target Foundation.
 
 

Other Performances


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Fantasie

*Commissioned by Music From China
Premier: Music From China New Works Series, Merkin Hall, NYC November 2000.

When I listen to music of cultures different from my own, I am drawn to similarities rather than disparities.  When I first heard the erhu, some of the sonic qualities and techniques reminded me of Texas swing fiddle (from Bob Wills and the Texas Playboys or Roy Benson and Asleep at the Wheel), the bluegrass fiddle (the Flying Dog Bluegrass Band or Alison Krause and Union Station), the Irish Fiddle (of Natalie MacMaster), and even the Western classical fiddle of Tchaikovsky and Brahms. Some of the sound worlds in Fantasie imitate "reality" while others suggest imagined bandstands with virtual players. This work, hence, is a fantasia of styles and sound worlds from a variety of sources, all brought together in the computer, with the erhu as the catalyst in a virtual fantasie of fiddling!

Duration: 13’
 
 

Other Performances
-Knitting Factory (NYC), Music From China, July 17, 2001.
-Chatauqua Institution (Chatauqua, NY), Music From China, July 12, 2001.
-Smithsonian Folklife Festival (Washington DC), Music From China, June 28, 2001.
-Music from China, UMKC Conservatory of Music, January 17, 2001.
-Music From China, Bard College, February 14, 2001
-Music From China, Southern Illinois State University (Carbondale, IL), April 3, 2002
-ICMC, Singapore, Oct., 2003



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Church Keys

*Commissioned by the Missouri Music Teachers Association.
*Honorable Mention in the 1999 National Music Teachers Association Shepherd Distinguished Composer Competition.
Premier: Missouri Music Teachers Association, Bolivar, MO, Nov. 12, 1999.

I have long loved the simplicity and clarity of the four-part hymns I used to sing in church as a child.  I view these hymns now as a foundation upon which highly complex structures can be build.  I have often been perplexed, however, by the range of emotions expressed in many of these hymns.  On the one hand, hymns like “Far Far Away From My Loving Father,” portray a heartfelt loving and forgiving image based on the prodigal child story.  On the other hand, “A Mighty Fortress Is Our God” contains violent war imagery and language.  The opposed polarity of these two types of hymns can be striking when they appear side by side in a worship service.  I have come to realize that both kindness and violence seem to be equal parts of our human nature.  Church Keys is the ground on which these halves of myself, kindness and confrontation, struggle to coexist.
 
 

Other Performances
-Indiana State University Festival of Contemporary Music, Terra Haute, Lucia Unrau, Piano: October 27, 2000.
-Kansas City Festival of Electroacoustic Music, HyeKyung Lee, Piano: April 28, 2000.
-Bluffton College, Lecture Recital, Bluffton Ohio, December 5, 2000: Church Keys by Lucia Unrau.
-Molly Morkoski DMA Piano Recital, State University of New York, Stonybrook, November 9, 2000: Church Keys.
-Composers, Inc. Concert, San Francisco, Oct. 9, 2001.

-newEar Ensemble Sacred Space Concert, Kansas City Missouri, January 27, 2001.
-Society of Electroacoustic Music in the US National Conference, April 6, 2002.
-Mid-Kansas Residency, Guest Artist Concert, Emporia State University, Feb. 11, 2003
-New Music Circle, Washington University, St. Louis, MO, November 22, 2003
-Interlochen Arts Camp, Michigan, July 17, 2003
- San Francisco Community Music Center, San Francisco, CA, November 9, 2003
-Furman University, Faculty Recital, Sept. 28, 2004
-Third Practice Festival, Oct. 2, 2004, Baltimore
-St. Lawrence University, Dan Koppleman guest recital, Oct. 8, 2004
- duo runedako, Temple of Isreal, Greenville, SC, Nov. 14, 2004

-Krannert Center, Playhouse theater, Champaign, Illinois, April 28, 2004
-Teaching Peace Conference, Bluffton, Ohio, May 28, 2004
-Furman University Piano Camp, June 24, 2004


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Degrees of Separation "Grandchild of Tree"

~Written for Nathan Davis in Homage to John Cage
*Mention: 27th Bourges International Competition of Electroacoustic Music, June, 2000
 *Sonic Circuits VII Festival of Electroacoustic Music, 1999

Premier: Yale University, Nathan Davis Masters Recital, April 15, 1999.

The idea for a cactus and tape work came about when I heard a performance of John Cage’s Child of Tree.  I was immediately taken with the sound of the cactus in particular.  Taken from its natural environment and placed in the confined and groomed existence of a pot, amplified with a contact microphone, the cactus took on a completely new and interesting character, however paradoxical.   Without the amplification its subtle and poignant resonances go largely unnoticed.  The relationship between natural objects and their unnatural extension is the metaphor which inspired Grandchild of Tree.  I am deeply indebted to Nathan Davis for his amazing cactus technique and samples!
 
 

Other Performances
-Discoveries 31 (Pete Stollery), Aberdeen, Scotland, March 7, 2004
-Royal Conservatory of Scotland, Glasgow, May 10, 2004
-Aberdeen College, Aberdeen, Scotland, July 2, 2004
-Mid-Kansas Residency, Guest Artist Concert, Emporia State University, Feb. 11, 2003
-Peabody Conservatory of Music, Percussion Ensemble, Jonathan Haas, director, February, 17 2003
-Musica Nova, UMKC Conservatory of Music, May 4, 2003
-EAR POPPING SOUNDS, Dortmund/Germany during the theatre festival "off limits"; June 2, 3, and 4, 2003
-The Electric Hall, Helsinki Finland, Sept, 2003
-Aspen Music Festival, Percussion Ensemble, July 28, 2002

-International Computer Music Conference,Gotebörg, Sweden, September  18, 2002.
-Aspen Music Festival, Percussion Ensemble, July 28, 2002.
-newEar, St. Mary’s Episcopal Church, Kansas City, May 9, 2002.
-Percussion At the Edge, Terry Longshore, University of South Oregon Ashland, Oregon March 4, 2002.
-Also Sprach DJ Zarathustra: Northwest Electroacoustic Music Organization, Portland Oregon, October 6, 2001
-Adventures in Listening, Aspen Music Festival, August 16, 2001.
-Kalvos and Damian Ought One Festival, Goddard  College, Plainfield Vermont, August 25, 2001.
-Discoveries 29 "Nothing to Look at, Everything to Listen To", Lemon Tree Cafe, Aberdeen,  Scotland, June, 2001.
-Music Without Walls, Music Without Instruments Conference, De Montfort University, Leicester, England, June 21, 2001.
-Seoul International Festival of Computer Music, Seoul Korea, November 5, 2000.
-Sonic Residues 02, Melbourne, Australia, November 18, 2000.
-Electrofringe Festival, New Castle, Australia, October 8th, 2000.
-NewEar Bio Music concert, Kansas City, September, 28, 2000.
-Australasian Computer Music Association, Brisbane, Australia, July, 2000.
-Kansas City Festival of Electroacoustic Music, April 29, 2000.
-Florida Electroacoustic Music Festival, Gainesville, FL April 6, 2000.
-SEAMUS, Denton, TX, March 11, 2000.
-Spring in Havana 2000, Havana, Cuba, March 6, 2000.
-Sonic Circuits Electronic Music Festival, Minneapolis/St. Paul, Nov. 6, 1999.
-Music at St. Mary's, "The Percussion Artistry of Dr. Terry Longshore, Medford, Oregon, November 19, 2000.
-Paul Vaillancourt, State University of New York, Stonybrook, November, 2000.
-Creative Arts Consort, University of Massachusetts, Dartmouth, November 9th, 2000.
-Nelson-Atkins Museum of Art, Imagination Stations Concert, August 27, 2000.
-Amplified Music Performance Series/Percussion Recital, Aspen Music Festival, July 31, 2000.
-A Night of Percussion: A Global Perspective, Terry Longshore, perc., Valley City State University, ND, Feb. 18, 2000.
-Sonic Circuits VII Elec. Music Festival, Mark Applebaum, cactus, Mississippi, Feb. 2000.
-The Happy Fun Hour X2 with DJ Moderne (Ken Ueno), WCCR, Cable Ch. 10, Cambridge, MA, Jan. 27, 2000.
-Jim Snell DMA percussion recital, UMKC Conservatory of Music, April 22, 2000.
-A Night of Percussion: A Global Perspective, Valley City State University, February 18, 2000).  Terry Longshore.
-Sonic Circuits VII Festival Concert, Mississippi Valley State University, February 8, 2000.
-Nathan Davis faculty percussion recital, Keene State College, VT, Dec. 4, 1999.
-SEAMUS Week Concert: SUNY Buffalo, NY, Nov. 9, 1999.
-Future Perfect 8 a Sonic Circuits phantasmagoria Landmark Center November 5, 1999.
-WOBC, Oberlin Ohio: Interview and radio broadcast of October 11, 1999.

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"...and every island and mountain were moved from their place..."

Premier: Fringe Festival, Wellington New Zealand, Feb. 26, 1998, David Armstrong, Trumpet.

“...and every island and mountain were moved from their place...”(Revelation 6:21) was conceived and composed while contemplating the “turn of the millennium.”  Living in New Zealand at the time, I realized that those in the South Pacific would be the first to experience the sunrise on January 1st, 2000.  As a result, the image of that sunrise, and all of its accompanying expectations, became the focus of the work.  “....and every island and mountain were moved from their place....” (1998) was realized in EMS 1 at Victoria University, Wellington, New Zealand, while on a Fulbright Fellowship.

Performance Notes

When specified, the trumpet should face into the open piano with the lid up, and the piano turned so as not to face directly into the audience.  Contact microphones should be used under the piano where possible and the sustain pedal on the piano should be fixed down throughout the work.  Amplification of the piano should pick up the trumpet as well, but not directly.  If standing microphones are used, they should be placed under the piano.  There should be additional amplification for the direct trumpet sound in softer muted passages as needed.  Where sound is diffused, the performer (mixer) should keep in mind the idea of facing the rising sun, and diffuse accordingly.  The piano, tape, and resonant trumpet should be mixed together, rather than separated (i.e., the amplified piano resonances should be mixed through the entire hall, not just the front stereo pair).
 
 

Other Performances
-International Computer Music Conference, Beijing, China, Oct. 25, 1999.
-New York New Music and Dance Ensemble, New York University, Nov. 10, 2001. 
-Jack Sutte faculty recital, Oberlin College Conservatory, April 7, 2002.
-Ruel Joyce Recital Series, Carlsen Center Recital Hall, Kansas City, October 30, 2000: Keith Benjamin, trumpet.
-Baldwin Wallace College Conservatory, Jack Sutte guest artist recital, Cleveland, OH, March 25, 2000.
-WOBC, Oberlin Ohio: Interview and radio broadcast of October 11, 1999.
-Keith Benjamin, Faculty Recital, UMKC Conservatory, Nov. 24, 1998.
-Amplified Music Performance Series, Aspen Music Festival, July 10, 1998, Jack Sutte, trumpet.

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Geographic Bells

Premier: EARS (Electroacoustic Recital Series), The University of Texas at Austin,  McCullough Theater, December, 1994.

In Geographic Bells there are representations of many kinds of bell sounds expressed in many different sound shapes. Each one may or may not elicit different connotations or scenes, depending on ones experiences with bells. Lest this be just a rehashing of one of the oldest methods of sound synthesis, however, these bells also have geographic references. The significance lies in the names assigned to various geographic points around Aspen Colorado (where the work was composed) which elicit, either directly, the image of a bell (Maroon Bells, Bell Mountain, and Silver Bells Campground), or indirectly (Cathedral Lake and Cathedral Peak), settings in which bells are used even to this day. Castle Peak is reminiscent of medieval bells, while Independence Pass and Independence Mountain elicit the American Revolution and the famous Liberty Bell. The Hunter/Frying Pan Wilderness, Frying Pan Lakes, Frying Pan River, Homestake Creek and Homestake Lake all recall imagery of the pioneer homestead call to plates by a large steel triangle-included rather loosely here in the category of bells. Whether or not the explorers and founders (who named many of the sites) of the Aspen area heard bells literally, or imaginatively, causing the many geographic bell name designations has yet to be discovered (I'm sure there are anthropo-etymological astrologers working on it as we speak). Perhaps it is this resonance with the cosmic ether which spawned and through the years has continued to support one of the nations largest music festivals. 

Or perhaps not?
 
 

Other Performances
-North American Saxophone Alliance Region 4, Jeremy Jusitson, Saxophone, March 17, 2001.
-Imagine 96/Society of Composers Inc. National Convention, Memphis TN, February, 1996.
-SEAMUS National Conference, Birmingham, AL, March, 1996
-Korean Electro-Acoustic Music Society (KEAMS) 2nd Computer Music Festival, Seoul, Korea, October, 1995.
-The Aspen Music Festival, Aspen Opera Hall, Damon Zick, Saxophone, July, 1995.
-Todd Yukumoto, Saxophone Recital, University of Hawaii, September 17, 2000: Geographic Bells
-New York University New Music and Dance Ensemble, New York, NY, May 1, 2000.
-Next Wave Festival, Seoul, South Korea (Sun Ho Hwang), Sept. 3, 1998.
-DMA Recital UT School of Music, Feb. 27, 1997.
-TCMN,  Southeast Oklahoma State University, October, 1996.
-Eastman School of Music, Rochester, NY, Damon Zick, Saxophone.
-Cactus Cafe, University of Texas Student Union, January, 1995.

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Parallax 1 "Violin"

Parallax is an astronomical term used to refer to an apparent change of position or direction of an object when viewed from two or more points not on a line with the object. In Parallax 1 I was interested in presenting the object ("Violin") from a range of views which all converge from different planes on the live violinist. Some of the sound worlds are mechanical while others seem organically grown from a simple bouncing bow spun into large orchestral textures. The work was written for Australian violinist and conductor Joanna Drimatis without who's samples the work would not have been possible. The composer also gratefully acknowledges the dedication of Andrew Perea to the final version of the work.
 

 

Performances
-Pendulum Concert Series, University of Colorado, January 28, 2004
-Concert-Phonos, Universitat Pompeu Fabra,  Barcelona, Spain, January 24, 2001, Eric Rynes, violin.
-Nelson Young Composers Workshop, Nelson, New Zealand, July 6, 2000, Joanna Drimatis, violin.
-ICMC, Ann Arbor, MI, October 13, 1998, Gabe Bolkosky, violin.
-Texas Computer Music Network (TCMN), Hyde Park Theater, Austin, TX, April 2, 1997.
-Society of Electro-Acoustic Music in the United State (SEAMUS)  National Conference, UMKC Conservatory of Music, April 3, 1997.
-DMA Recital UT School of Music, Feb. 28, 1997.
-Composers Concert Series, The University of Texas at Austin, February, 1997.

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Parallax 2 "Apparitions"
Fine Lines for Cello and Tape

~Written for Craig Hultgren
*Finalist in the 1999 Hultgren Biennial Solo Cello Competition
Premier: Concert of Premiers, Birmingham Southern College, Sept. 5, 1997, Craig Hultgren, cello.

*Recorded on Living Artist Recordings Vol. 4, 1999.

Parallax is an astronomical term used to refer to an apparent change of position or direction of an object when viewed from two or more points not on a line with the object. In Parallax 2 "Apparitions," my goal was to incorporate the acoustic cello into the world of the tape. The work originated from 45 minutes of improvisations by cellist Craig Hultgren, which inspired aspects of the formal structure as well as specific technical ideas. Many of his extended techniques imbue the cello with an "electronic" sound, and as a result, my compositional ideas stem from his innovative use of abstract sound worlds created through the cello. Emphasis throughout the work is placed upon the unclear distinctions created between the tape and the live instrument. The first part of the work focuses on these ambiguities ("ghosts" of the cello) but in the end the cello finds its own voice within the sound world of the tape.
 

 

Performances
-Birmingham Art Music Alliance, Hill Recital Hall, Birmingham Southern College, Oct. 16, 2001.
-Michiana Cello Society "Electroacoustic Cello Music-New Sound Designs" Craig Hultgren, Grand Valley State University, November 1, 2000: Parallax 2 "Apparitions"
-WOBC, Oberlin Ohio: Interview and radio broadcast of October 11, 1999.
-Craig Hultgren Biennial Solo Cello Competition, Mobile Alabama, Nov. 17, 1999.
-Craig Hultgren Biennial Solo Cello Competition, Atlanta, GA, Sept. 19, 1999.
-The Virtual Concert Hall, radio broadcast on KAJX, Aspen, August 7, 1999.
-Craig Hultgren Biennial Solo Cello Competition, Birmingham, AL, July 31, 1999.
-"Plugged In", Sydney University, March 18, 1998.
-Craig Hultgren, St. Louis New Music Circle, Feb. 7, 1998.

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Remnants

*Selected for EAR of the SEA Festival, Helsinki, Finland, 1998.

This work looks at the trumpet from the inside out and is put together from many sorts of remnants.  First, are the bits left over from a previous piece for trumpet and tape; sonic carpet scraps from a work which would not support any of the material found here. There are the sonic remnants from my days as a jazz trumpeter; nerve impulses, left in my bones, which I can still feel under the right circumstances.  And finally, there are the remnants of sound from the trumpet itself; molecules which continue to bounce in the tubes long after the lips have left the mouthpiece. 

Remnants is made entirely of trumpet samples provided by Jack Sutte, and was composed at Victoria University, Wellington, New Zealand, while on a Fulbright Fellowship. 
 

 

Performances
-KIASMA Modern Art Museum, Suomenlinna, Finland, July, 2000
-University of Florida, Unbalanced Connection 18, "Aurora Borealis" November 30, 2001
-Mid-Kansas Residency, Guest Artist Concert, Emporia State University, Feb. 11, 2003
-Society of Electroacoustic Music in the US (SEAMUS), National Conference, Arizona State University, March 13, 2003

-Bourges Synthèse EAR of the SEA concert, Bourges, FR, June 6, 1999.
-Spring in Havana 2002, Cuba, March 9, 2002.
-EAR of the SEA, KIASMA Modern Art Museum, Suomenlina, Finland, August 26, 1999.
-International Computer Music Association, Berlin, Germany, September 8, 2000: Remnants.
-Bowling Green New Music and Art Festival, BGSU, OH, Oct. 15, 1999.
-Florida EA Music Festival, Gainesville, FL, April 8, 1999.
-Santa Fe EA Music Festival broadcast on KUNM FM 89.9, April 11, 1999.
-The Virtual Concert Hall, KAJX, Aspen, Roaring Fork Public Radio (91.5 FM), May 22, 2000.
-WOBC, Oberlin Ohio: Interview and radio broadcast of October 11, 1999.
-Radio Ylen Ykkönen, Helsinki, Finland: Remnants on August 26, 1999.
-"Sound Space", Wellington, NZ, Adam Concert Room, August 27, 1998.
-Amplified Music Performance Series, Aspen Music Festival, August 6, 1998.
-"Deep", Active FM 89, Wellington, NZ, August 6, 1998.

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18700

18700 was written in response to a trip to Mexico in 1992 to climb Pico de Orizaba, an extinct volcano rising 18,700 feet above sea level. Many of the sound masses of the work are direct extensions of emotional, psychological, and physical effects and events at high elevations. Truck size sections of the inner crater breaking away and falling to the bottom reverberating out over the rim; the pounding of the heart and the labor of breathing and stepping one foot in front of (and usually above) the other; throbbing veins; the light-headedness in paradox with the heaviness of exertion, are all snapshots in my memory of the ascent of the mountain. Motion, change and progress seemed to change slowly and evolve over a timeless landscape of white glacier and endless blue sky. These are the perceptions which I attempted to capture in 18700. The work exists as a multi-media work for photographs and music using multiple slide projectors, as well as for tape alone.

 

Performances
-Radio broadcast "Deep" 89.1 FM, Wellington, New Zealand, Nov. 14, 1998.
-Florida Electro-Acoustic Music Festival, Gainesville, FL, April 7, 1997.
-The Aspen Music Festival, Student Composers Concert, August, 1992.
-Family Week, Rocky Mountain Mennonite Camp, Divide, CO, August, 1991.


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Polyglot

This piece was co-created by composer Paul Rudy and choreographer Shannon Bradford in order to explore the idea of expressing and perceiving multiple languages, or POLYGLOT. From conception, the music and the movement evolved interdependently from the notion of collage and the desire to express meaning in multiple layers. Paramount to the process has been improvisation to generate movement and freedom for individual performers to explore the resulting material. Performance of the work is the carefully crafted result of these explorations in the sound and movement world.
 
 

Performances
-WOBC, Oberlin Ohio: Polyglot.  September 27, 1999.
-New York New Music and Dance Ensemble, Pisa Italy, July 13, 1999.
-Electro-Acoustic Recital Series (EARS) The University of Texas at Austin,  B. Iden Payne Theater, Shannon Bradford, choreographer: April 27 and 28, 1997.

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Trio for Three

Trio for three was written at the Aspen Music Festival in 1994.   I was interested in exploring base human nature and self-preservation instincts, and the contradiction that to change the outside world, one must seek to change inwardly first.  Each of three voices (movement, sound, and light) interact in varying degrees of confrontation throughout the work, until in the end, they begin to combine their efforts to the benefit of each other.


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Dance Suite from Water Into Light

Dance Suite from Water Into Light (1995) consists of four works extracted from the incidental music written for a play by Wesley Middleton (Austin, Texas).  The middle two pieces (Lydia and Lynn) embody the two main characters of the play, and are surrounded by the prologue and epilogue which consist of both of these themes combined with additional material from the music used in the play.
 

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Updated January 9, 2005
created by Paul Rudy, Dec. 2000