I've written music in a variety of genres,
from a solo cello piece for my friend Eric Lenz back in 1995
to a string orchestra arrangement of some of my
Arcanum music that was
premiered in Leipzig in 2005,
via ecclesiastical choral and liturgical music,
performance art pieces for the Seattle School
composers' collective,
and a fair number of pop songs starting back in 1986.
These days I'm doing a lot of pieces for real-time electronics, mostly with
Max,
along the lines of
food operas,
sound installations, and
video pieces.
I've been fortunate enough to have my work performed in a variety of contexts
in North America, Asia, Africa, and Europe. Sometimes the performer has been me;
sometimes it's been such fine musicians as
the Esoterics,
the Northwest Girlchoir,
the Ensemble Sorelle,
or odeonquartet.
Some of my sacred music has been published by Augsburg Fortress,
in the Worship & Praise Hymnal (1999) and in several Renewing Worship resources (2004).
Model Lightbox
2012
Seven channels of pre-rendered, algorithmically generated video
30"
Developed in Jitter.
Exhibited on the 80 foot tall, 7-channel screen array in front of the
Boston Convention & Exhibition Center in South Boston, summer 2012,
as part of the
Art on the Marquee program.
View an excerpt here.
Transportation Is Getting a New Look
2010
One channel of real-time generated video
infinite
Developed in Jitter.
Exhibited as part of the "Re-Visioning History" show at OV Gallery in Shanghai, May 22-August 15, 2010.
View an excerpt here.
Self-Portrait, Dusk, at the Point of Departure
2010
Twenty-four channels of real-time generated video, two (or theoretically up to forty-eight)-channel soundtrack
infinite
Developed in Jitter.
View an excerpt here.
Shanghai Traces
2010
One channel of real-time generated video, optional two-channel soundtrack
infinite
Developed in Jitter.
Exhibited as part of the "Make Over" show at OV Gallery in Shanghai, January 23-March 13, 2010.
View an excerpt here.
Study for Insomnia
2009
One channel of real-time generated video, four channels of real-time generated sound
infinite
Developed in Jitter.
Exhibited as part of the "Expanding Horizons" show at Art+Shanghai Gallery in Shanghai, July 1-September 25, 2010.
View an excerpt here.
Night Rain 光口夜雨
2019
Poem by Yang Wanli 杨万里
Solo voice, 16 channels of real-time audio, and audience mobile devices
4'
Premiered by the composer at the
LongYou Grottoes International Music Festival 龙游石窟国际音乐盛典 in a recently rediscovered network of human-carved caverns in rural Zhejiang Province, China,
on October 24, 2019.
Ornithological Blogpoem
2015
Poem by
Elisa Gabbert
Mixed choir and audience members' mobile devices
4'
Premiered by the Berklee Valencia App Choir (founded and led by me) at the first
Vox Festival,
Universitat Polytècnica de València, June 4, 2015.
Please Be Seated
2014
Real-time computer-generated sound
around an hour
Composed to accompany a dance performance by UK-based
New Movement Collective.
Premiered in performances at
Southbank Centre
in London, November 11-12, 2014,
and
Royal Theatre Winchester,
November 8,
featuring furniture design by my frequent collaborator
Jutta Friedrichs.
Previously, the work was previewed in Valencia at
La Rambelta on June 1 and the Centro Cultural de Picanya on June 5.
The Relaxatron 3000
2014
Mixed choir and audience members' mobile devices
infinite
A biofeedback sonification system that incorporates the
Enobio's brainwave and heartbeat measurement capabilities
to increase user awareness of relaxation states by associating biological characteristics with
algorithmic music in just intonation.
Developed in collaboration with the
Starlab
team during
Music Hack Day Barcelona, June 12-13, 2014.
Here's a little
video.
Three Studies for Disklavier and Mechanical Chihuahua
2014
Disklavier and mechanical chihuahua
about fifteen seconds
Composed at the invitation of Ranjit Bhatnagar
and presented as part of his installation
Short Ride in a Fast Chihuahua
at the
Qubit Machine Music festival,
February 12-14, 2014, New York City.
These 26-beat studies were composed using custom comptuer software with the goal of
achieving timbral transformations by doubling selected harmonics on a MIDI-controlled (chihuahua-driven)
Disklavier piano.
Beside the White Chickens: A Summer Food Opera
2013
Real-time computer-generated sound
an hour or two
Composed using Cycling '74's Max/MSP graphical programming environment.
A collaboration with Chef Jason Bond of Bondir restaurant in Cambridge.
Premiered at Bondir on July 30, 2013.
Sensing Terroir: A Harvest Food Opera
2012
Real-time computer-generated sound
an hour or two
Composed using Cycling '74's Max/MSP graphical programming environment.
A collaboration with Chef Jason Bond of Bondir restaurant in Cambridge.
Premiered at Bondir on November 13, 2012.
Presented in collaboration with Artists in Context.
Landscape with Water and Woodblocks
2012
Real-time computer-generated sound
infinite
Composed using Cycling '74's Max/MSP graphical programming environment.
Exhibited as part of the Learning from the Literati 3 show at OV Gallery in Shanghai, September 5, 2011-October 10, 2012.
The Winds of Kabul
2011
Real-time computer-generated sound
infinite
Composed using Cycling '74's Max/MSP graphical programming environment.
A study in telepresence, with meteorological data from Kabul, Afghanistan, driving virtual wind chimes in Shanghai, China. Exhibited as part of the "Forgotten Places" show at OV Gallery in Shanghai, November 26, 2011-January 7, 2012.
Chingachgook(s)
2010
Improvising trumpet and real-time computer-manipulated sound
about 25 minutes
Composed using Cycling '74's Max/MSP graphical programming environment.
Developed in collaboration with trumpet player Justin Sebastian.
Premiered at the Mini Midi Festival (Caotang in Zhujiajiao, MAO Livehouse in Shanghai), May 1-3, 2010. The inspiration for the piece was a shared appreciation for Andrei Tarkovsky’s film Stalker, in which a guide with obscure gifts leads curious sojourners through a mysterious Zone, which is pretty much what happens over the course of our piece.
Lukou 路口
2006, 2009
Real-time sound installation for four channels of computer-generated sound
infinite
Composed using Cycling '74's Max/MSP graphical programming environment.
First exhibited at Art+Shanghai Gallery's exhibition "Wuwei 无为: Being and Nothing," which ran September 9 through November 1, 2009. The source material comes from recordings of busy Shanghai intersections; read all about it here.
Zhujiajiao Drinking Game 朱家角喝酒游戏
2009
Five beer drinkers, computer-generated percussion
about half an hour
Composed using Cycling '74's Max/MSP/Jitter graphical programming environment.
Premiered on July 25, 2010, by me, Feng Hao 冯昊, Li Zenghui 李增辉, Yang Ge 杨戈, and some French guy, I think; my memory's a little foggy. Each of the five performers has five bottles of beer from which to drink or on which to blow, in accordance with a real-time, computer generated score projected on a screen. The piece ends when all the beer has been drunk.
Kaleidoscope Music
2009
Real-time sound installation for two or six channels of computer-generated sound
infinite
Composed using Cycling '74's Max/MSP graphical programming environment.
Created as the audio component of the installation Kaleidoscope Wallpaper, developed in collaboration with Chen Hangfeng 陈航峰, first exhibited at the Today Art Museum in Beijing as part of the Fat Art 09: Music to My Eyes exhibition, which ran from April 17 through May 3, 2009. Read all about it here.
Breaking New Ground
2008
Real-time sound installation for six channels of computer-generated sound
infinite
Composed using Cycling '74's Max/MSP graphical programming environment.
Created at the behest of MÜ Furniture designer Jutta Friedrichs to accompany her 240 sqm installation for the 100% Design display at Shanghai International Creative Industry Week, which ran October 16-21, 2008. The piece synthesizes sounds evoking wind, chimes, and a kind of insect/flute thing in real time, using algorithmic structures that never repeat to suggest natural behaviors.
Statement of Purpose
2008
Lecturer/singer, computer-manipulated sound, computer-generated images
6'40"
Composed using Cycling '74's Max/MSP graphical programming environment.
Premiered at Pecha-Kucha #11, the constraints of which (20 slides of 20 seconds each) suggested the structure for the piece, Shanghai, Sept. 26, 2008.
I wrote six sets of aphorisms around the subjects of videogames, non-linear structure, and digital art, then wrote a program to shuffle them up, along with a textless vocalise. Images and pre-recorded accompaniment are also derived from the same material, shuffled algorithmically. The material can be generated afresh for subsequent performances. Photo and video documentation is available.
Mobile 3
2006
Computer-manipulated recordings of drums and guitars
varable duration
Composed using Cycling '74's Max/MSP graphical programming environment.
Written using the Mobile Framework, software I developed to deploy open form compositions in real-time. Premiered at the NOIShanghai VI concerts, Nov. 23 and 24, 2006, at Yu Yin Tang and China Live Bar in Shanghai, and performed again the next day at the fourth annual 2pi Festival in Hangzhou, Nov. 25, 2006.
Study for Eventual World Domination
2006
Computer-manipulated sound (any sound, in fact)
varable duration
Composed using Cycling '74's Max/MSP graphical programming environment.
Written as a response to an algorithmically chopped up version of a piece by Christopher DeLaurenti (chopped, I might add, by another Max program I wrote), which was itself a response to a description of an unfinished work by Mike Min as part of Mike's Bike Bin Project, a musical bicycle tour of Seattle. Premiered live at NOIShanghai VI, Nov. 23, 2006, at Yu Yin Tang in Shanghai. The piece represents one avenue of inqury into algorithmic rhythm generation. You can listen to it on the Bike Bin Project site.
Psalmus
2005
Voice, bells, and real-time electronic processing
11'
Composed using Cycling '74's Max/MSP graphical programming environment.
Premiered at the first Sound Currents concert in Shanghai, Nov. 19, 2005, at Harley's Bar in Xu Jia Hui. The vocal part is written in chant notation, so any text divisible into couplets may be used. At the premier, I sang Psalm 107:33-43 in Latin (Posit flumina), which fit nicely.
Radiospace
2004, rev. 2005
Real time computer-manipulated sound
variable duration
Composed using Cycling '74's Max/MSP graphical programming environment.
Radiospace was conceived to function as the basis for a sound installation in which an incoming audio stream from a radio is fragmented and redistributed using granular synthesis techniques. First presented in a non-interactive version at the Seattle Art Museum in conjunction with the Ensemble Sorelle's premiere of Mobile 1. Revised version for live performance was premiered at Sound Currents in Shanghai on Nov. 19, 2005.
Phantom Combo Mobile
2003
Pre-rendered computer-manipulated sound
4'
Composed using the Csound and Common Music (implemented in LISP) programming languages.
I don't think this was presented publicly until June 3, 2010, at Logo in Shanghai.
The Story of Creation
1998
Amplified female speaker, synthesizer, and digital signal processing
5'
Premiered by Anbrit Long and the composer, Easter Vigil 1998, Holy Trinity Lutheran Church, Mercer Island, WA.
Les Cloches
1996
Text by Guillaume Apollinaire
Soprano and pre-rendered computer-manipulated sound
2'45"
Composed using the Csound programming language.
Premiered by Becky Lowe, May 5, 1996, St. Olaf College, Northfield, MN.
Playground Lost
1995
Pre-rendered computer-manipulated sound
2'35"
Composed using the Csound programming language.
Commissioned by the Gustavus Adolphus Department of Dance to accompany choreography by Anthony Roberts.
Method for the Direct Conversion of Visual Information into Sound
2006
Any combination of instruments
variable duration
Premiered by me and UK artist Dominik (performing on synthesizer, accordion, voice, drums, radio, and gu zheng) in conjunction with the Germamy-based art collective Team 404's Lovely Shanghai Music exhibit at the Zendai Museum of Modern Art in Shanghai, China, Sunday, May 28, 2006.
Mobile 2
2005
Any combination of instruments (with optional bells)
variable duration
An open-form composition that incorporates the transcribed cries of Shanghai's itinerant vendors and solicitors into a sparse collage of sustained tones and bells.
Mobile 1
2003
Flute, piano, soprano, and cello
variable duration
Premiered by the Ensemble Sorelle on June 20, 2004, 3pm, at the Seattle Art Museum.
An open-form piece in three movements, which may be performed in any order. Each movement displays a different amount of linearity, ranging from interpenetrating, isolated pitches (constrained by scale) to complete, directed phrases. Textures move between sparse, pointillistic atmospheres and driving rhythms.
Relay
2003
Four or more vocalists and radio operator
variable duration
Premiered by Seattle School on November 20, 2003, as part of their Fear, Karaoke, Discipline, and Paintball performance at Polestar Music Gallery. Based on an idea by Mike Min, Relay is kind of musical relay race, in which vocalists sing sounds from a radio down a line to each other at decreasing intervals, resulting in a collage of overlapping sounds and requiring concentrated listening from the performers. The use of a radio ensures that the piece will be different each time.
A Reading from _____
2003, electronic version 2006
Four readers
6-9'
Premiered by Seattle School live on KEXP's Sonarchy radio program, broadcast from the studios of Jack Straw, engineered by Doug Haire, May 24, 2003.
Electronic version premiered at Noishanghai, May 7, 2006, Yu Yin Tang, Shanghai, China.
The work consists of a scrambled and re-ordered reading from any found text, the name of which goes in the blank for a given performance. This piece is a study in form, systematically exploring the idea of musical non-linearity as theorized by composers like Earle Brown and implemented computer game soundtracks.
Variations on _____
2003
One or more performers on any instrument
variable duration
Premiered by Seattle School live on KEXP's Sonarchy radio program, broadcast from the studios of Jack Straw, engineered by Doug Haire, May 24, 2003. This work imposes a non-linear structure onto snippets of music from an existing score. The duration of the work is determined by an external phenomenon or decided in advance. The piece may be performed simultaneously with A Reading from _____, in which case it continues until that piece is completed.
Bells of Peace and Celebration
1999
Handbell choir
3'
Music for Institutions and Prisons
1996
2 cl, 2 bsn, 4 perc (hi-hat, bd, chm, 2 mrb), synth, 2 vln, 2 vla, cb
7'45"
Premiered May 5, 1996, St. Olaf College, Northfield, MN.
Impressions de Paris
1995
Cello solo
4'
Premiered by Eric Lenz, January 28, 1995, Paris, France.
Die Brautwerbung
2013
Text from Finest Legends of the Rhine by Wilhelm Ruland
SATB chorus a cappella
3'
Premiered at the wedding of the composer to
Jutta Friedrichs
on August 17, 2013, at
Marienkirche, Alexanderplatz, Berlin, by
Cassandra Hoffman, soprano; Saskia Klumpp, alto; Douglas Nasrawi, tenor; and Jörg Gottschick, bass.
The text tells of how a dastardly knight is transformed into a noble gentleman through the womanly wiles of a fair maid named Jutta.
You can hear a live recording on
my SoundCloud page.
Was ist heilig
2013
Text by Johann Wolfgang von Goethe and Matthew 18:20 (Luther Bibel)
SATB chorus a cappella
3'
Commissioned by Emmanuel Church in Boston, as part of a congregational enrichment program on the theme of
Mary Magdalene's Gospel proclamation to the disciples, "I have seen the Lord."
Premiered by Ryan Turner and the Emmanuel choir
on July 28, 2013.
Revelations
2012
Text by Colin McDonald
TTBB chorus divisi a cappella
5'20"
Commissioned by the Minnesota Compline Choir, Clarance Smith, conductor.
Composed for the choir's 20 year anniversary. Premiered on April 29, 2012.
Laudate Dominum
2004
Traditional Latin text (Psalm 150)
SMATRB chorus a cappella
indeterminate duration
Commissioned by and dedicated to The Esoterics, Eric Banks, conductor.
Premiered at the Laudabilis concerts in Seattle, Medina, and Tacoma, WA, on Dec. 4, 5, 11, and 12, 2004.
The premiere performances were supported by a generous grant from Meet the Composer.
Droplets
2004
Text by the composer
SATB chorus a cappella
3'
Blossoms
2002
Text by Izumi Shikibu
SSA chorus a cappella
4'30"
Composed for and dedicated to the Vivace choir of the Northwest Girlchoir, Beth Ann Bonnecroy, conductor. Premiered on May 31, 2003, Meany Hall, University of Washington, Seattle.
Psalm Antiphons for the Easter Season
1997, 2001, 2002
According to cycles A, B, and C of the Revised Common Lectionary, NRSV
SATB chorus a cappella
Psalm tone and 16 brief antiphons
Commissioned by Holy Trinity Lutheran Church, Mercer Island, WA.
Premiered in worship during the Easter seasons of 1997, 2001, and 2002.
Alleluia
2001
SATB chorus, congregation, and organ
3'
Commissioned for the service of installation of Pastor Wm. Chris Boerger as bishop of the Northwest Washington Synod of the Evangelical Lutheran Church in America.
Premiered November 3, 2001, by a massed choir conducted by Beth Bonnecroy at Salem Lutheran Church, Mount Vernon, WA.
One Winter Night
2001, version with pipe organ accompaniment 2005
Text by the composer
SATB chorus with string ensemble accompaniment
2'50"
Premiered Christmas Eve 2001 by the Cantorei Choir, Holy Trinity Lutheran Church, Mercer Island, WA.
Service of Light: Three Pieces for Evening Prayer
2001, "Phos Hilaron" revised 2003
"Now the Day Has Drawn to a Close," text by the composer;
"Joyous Light of Glory," traditional Greek text, adapted by the composer;
"Blessed Are You, O Lord," text from the Book of Common Prayer.
SATB chorus a cappella
6'30"
Premiered by the Cantorei Choir of Holy Trinity Lutheran Church, Mercer Island, WA, "Now the Day Has Drawn to a Close" and "Joyous Light of Glory" during evening Lenten services in 2001 at Holy Trinity, and "Blessed Are You, O Lord" during Evening Mass on February 2, 2002, at St. James Cathedral in Seattle, WA.
The first two pieces arranged from Evening Prayer (1998).
O Lord, How Manifold Are Your Works
1997
Psalm 104:25-34, NRSV
SATB chorus, organ, and synthesizer
3'15"
Premiered Pentecost 1997 by the Cantorei Choir, Holy Trinity Lutheran Church, Mercer Island, WA.
Also performed as Psalm 104.
Libera me
2003
Traditional Latin text from the Requiem Mass
Voice with piano accompaniment
5'
Premiered in concert by Beth Ann Bonnecroy, soprano, and Peter Mack, piano, at the second Sound Currents concert, October 21, 2003.
Stranger Personals
1999, 2001-2002
Texts are personal ads from the weekly Seattle newspaper The Stranger
Voice with piano accompaniment
6'45"
Premiered by Patricia Thompson, accompanied by Carl Gales, Bloomington, IN, April 27, 2002.
(Sheet music is available for download.)
How Beautiful Upon the Mountains
2001
Romans 10:14-15a, Isaiah 52:7, NRSV
Mezzo-soprano with piano accompaniment
1'40"
Composed for the installation of Rev. Mart Thompson.
Premiered by Patricia Thompson, Peveley, MO, January 7, 2001.
Two Are Better Than One
2000
Ecclesiastes 4:9-12, NRSV
Mezzo-soprano with piano accompaniment
2'25"
Composed for the wedding of Amy Weber and John Spencer.
Premiered by Patricia Thompson, Cape Girardeau, MO, December 30, 2000.
Four Acclamations
2003
Traditional liturgical texts
Congregation with keyboard accompaniment and optional drone
20"-30" each
Commissioned by the Evangelical Lutheran Church in America as part of the Renewing Worship project.
Certain of the phrases may be repeated over a drone indefinitely.
Sanctus & Agnus Dei
2000
Traditional liturgical texts
Congregation with piano or organ accompaniment
3'
Commissioned by Holy Trinity Lutheran Church, Mercer Island, WA.
Premiered in worship during the Easter season 2000.
Morning Prayer, Evening Prayer, and Eight Psalms
1998
Except where noted, the texts written or adapted by the composer
Congregation with piano or organ accompaniment
Commissioned by the Evangelical Lutheran Church in America. Portions were premiered during services at the Alive in Christ conference in Orlando, FL, in November 1998. Three excerpts ("Now the Day Has Drawn to a Close," "In the Morning," and "O Come, Let Us Sing to the Lord") were included in the Worship & Praise hymnal, published by Augsburg Fortress in 1999.
(Sheet music is available for download.)
Morning Prayer:
"Opening to Morning Prayer;" 2'20"
"In the Morning (Hymn for Morning Prayer);" 1'20"
"Invitatory;" 0'15"
"Venite (O Come, Let Us Sing to the Lord);" 2'30"
"Benedictus;" 3'
Evening Prayer:
"Now the Day Has Drawn to a Close (Opening Versicles);" 1'05"
"Joyous Light of Glory (Phos Hilaron);" 1'10"
"Thanksgiving and Blessing," text from the
Book of Common Prayer; 1'15"
"Let My Prayer Rise Before You as Incense (Psalm 141);" 2'
"My Soul Magnifies the Lord (Magnificat);" 3'30"
"Intercessions;" (length varies according to the number of petitions)
Lead Us to the Holy River
1998
Text by the composer
Processional for congregation and tambourine
Composed for the first Easter Vigil services at Holy Trinity Lutheran Church, Mercer Island, WA.
You Are God's Work of Art
1998
Baptismal acclamation for congregation and organ
Composed for the first Easter Vigil services at Holy Trinity Lutheran Church, Mercer Island, WA.
Tom Clancy's EndWar
2008, video game
Composed the theme song "EndWar," which plays over the end credits.
Jonny Drama
1999-2001, unreleased Xbox video game
The non-linear score for Jonny employed Microsoft's DirectMusic technology to create a variable, interactive soundtrack that responded dynamically to game elements. The music utilized such advanced features as variable chordmaps, transposing secondary segments, and extensive scripting in AudioVBScript.
King's Quest: Mask of Eternity
1998, computer game
Composed about half of the music. Performed on synthesizer, sampler, and acoustic guitar, recorder, and voice.