Movements (for Clarinet and Live Electronics)

The premiere performance by Jacob Wolf at the Splice Institute on July 1, 2023, Kalamazoo, Michigan

Lately, it seems that every third piece I compose feels like pulling teeth. For reasons that (mostly) have nothing to do with the work itself, Movements (for Clarinet and Live Electronics) is one of those pieces. Whatever dramas may have unfolded between April and May, I will give some dry information about the piece. Movements… Continue reading Movements (for Clarinet and Live Electronics)

Electric Dreamscape no. 3

The premiere recording featuring Matt Mason (Piano) at the University of Iowa on May 3rd, 2023

In this piece I am beginning to explore generative musical forms. I wrote 25 fragments of music using a five note pitch-class set derived from the name Matt Mason, the performer for whom this work is composed. (The set is [0 1 2 6 7]). These 25 fragments are separated into five “primary moment groups”.… Continue reading Electric Dreamscape no. 3

Fanfare • Phantom • Architect

The premiere recording at the University of Iowa on October 30 2022

I originally intended for this piece to be a trio for Horn, Cello, and Piano (essentially a horn trio with cello instead of violin). In studying some of the standard horn trios I became enamored with a brief passage in the third movement of Brahm’s Horn Trio in E-Flat Major. Having studied the Bach library… Continue reading Fanfare • Phantom • Architect

and Mary Danced on Back of the Terrapin from Ritual no. 1 (Ascension of the Primes)

This is a recording of the third movement of Ritual no. 1: Ascension of the Primes, titled and Mary Danced on back of the Terrapin. Scored for for voice and electronics this movement of the piece is set in a 7-limit just intonation tuning. The electronic sounds were created inside of Max using FM and… Continue reading and Mary Danced on Back of the Terrapin from Ritual no. 1 (Ascension of the Primes)

The Body Where I Was Born

This is an interactive piece for trumpet solo or duet and computer (Max/MSP) in 11-limit just intonation. The live performer(s) play improvisatory material governed by a performance algorithm. By means of a frequency follower the live performers can trigger samples stored in the computer which were recorded by Professor Leonard Ott in the Owen Hall… Continue reading The Body Where I Was Born

Quadrangularis Reversum

Quadrangularis Reversum is a piece inspired by Harry Partch’s marimba-like instrument of the same name which is a real-time interactive duet between a solo violist and six unique FM synthesis sounds crafted in Max/MSP. The ratios available on Partch’s instrument, situated so that the player can easily play them in sweeping arpeggios, are here rendered… Continue reading Quadrangularis Reversum