This is a recording of El Muco at the Subtropics Festival in Miami, March 20th, 2011. For this recording Scott and I both used the same SuperCollider patch, known as the “Flooper.” It is a large feedback network, where every unit is patchable into every other unit. It builds complex and slowly-evolving layers of sound […]
A piece for flute and electronics, commissioned for the Moving Sounds festival 2010.
A room recording of El Muco (Scott Petersen and Brian Kane) at the IBeam, Brooklyn, Feb 12, 2010. For this set we improvised with hacked electronics routed through various signal processing units written in SuperCollider. More documentation here.
This is a unusual piece for piano and electronics, written for Sebastian Berweck. The electronics are based on recordings of shovelling mud and the piano part involves a variety of transcriptions. Sebastian Berweck, piano. Recorded live on November 5, 2007 at Payne Hall, Harvard University, Cambridge, MA. Program Note: “Distance, no matter how close the […]
A large composition for string orchestra, harp and piano, approx. 25 minutes. It is included as the final part of my doctoral dissertation. The recording presented here comprises excerpts from the entire piece, read by the Berkeley Symphony as part of their Under Construction series, December 10, 2006. The Berkeley Symphony, cond. George Thompson Program […]
This is an semi-improvised piece for piano, guitar, accordion, violin, cello and live electronics, conducted by stopwatch. The players follow a score which determines playing technique, general duration, and manner of entering/exiting. The electronics are mixed live, and were programmed in Max/MSP. Two versions of this piece are available (and quite dramatically different): 1) The […]
An ongoing cycle of electro-acoustic pieces and sound installations of various lengths, characters, and formats. Much of the source material is borrowed, derived, or based on animal and human sounds. This archive of material is then re-configured and transformed into various projects. Three such projects are: 1. A series of short electronic studies. First public […]
This is a piece for solo piano, approx. 10 minutes in length. Three kinds of musical material are developing simultaneously, and begin to interact in surprising ways. It is my first foray into computer aided composition; much of the material was generated with OpenMusic, and developed intuitively afterwards. Michael Seth Orland, Piano Recorded live at […]
This work for solo violin was inspired by the work of artist David Rabinowitch and is fondly dedicated to him. David Ryther, Violin Recorded live at the Berkeley Arts Center, Nov. 9th, 2003 Program Note: ”Measure is the Heaven of Desire” was written as a response to my encounter with the sculptor David Rabinowitch and his […]
Winner, De Lorenzo Prize in Music Composition. This is a three movement work for clarinet and string quartet, approx. 22 minutes in length. The piece is based on the writings of three Greek philosophers: Heraclitus, Parmenides, and Epicurus. The Berkeley Contemporary Chamber Players Peter Josheff, clarinet Karen Shinozaki, Cary Koh, violins Darcy Rindt, viola Leighton […]
This is an electronic work based on Beethoven’s Melodram for Glass Harmonica and Reciter. The piece uses a wide variety of electronic music techniques to create an unusual musical narrative. The piece was realized in Berkeley, using MAX/MSP, Audio Sculpt, Open Music and ProTools. Beethoven’s Melodram, for glass harmonica with recitation, was composed in 1814 […]
Winner, De Lorenzo Prize in Music Composition A short song cycle for soprano, piano, clarinet and cello. The songs are composed on three ecphrastic sonnets: the first a description of a tapestry, the second a cathedral, and the third a statue of Achilles. The settings attempt to embody Santayana’s startling naturalism. Karen Hall, soprano Marika […]
This is a short piece for woodwind quintet, approx. 3 minutes in length. The basic material comes from a recording of woodpeckers, which was found on an old 45 rpm record called Akustische Kuriosa, distributed by the Experimentalstudio Gravesano. No recording available
This is an electronic work in which all the sounds are computer generated. It is tightly constructed using a limited repertoire of sounds, all of which are modeled on inharmonic spectra. This piece was realized on my home computer in Berkeley, using MAX/MSP, AudioSculpt and ProTools.
A short rhythm study, approx. 5 min. An early version of this piece was performed at Hertz Hall, UC Berkeley, in 2001. No recording available
A three movement sonata for piano. The piece integrates a series of compositional techniques into a large multi-movement work. Hadley McCarroll, piano Recorded live at Hertz Hall, UC Berkeley, Dec. 6th, 2000. 1st movement: 2nd movement: 3rd movement: Program Note: The “Sonata for Piano” was composed as an attempt to consolidate various compositional techniques used […]
A chamber piece for clarinet, bassoon, french horn, violin, viola, and cello. The piece is constructed in five short movements, which surround a series of polyrhythmic duos and trios, exploiting the unusual instrumentation. Duration: approx. 15 minutes. No recording available
An integrated set of pieces for solo clarinet, based on a five note motive. Matt Ingalls, clarinet Recorded live at The Capp Street Community Music Center, San Francisco, Jan. 27th, 2001.
A short work for clarinet, viola and contrabass. Each piece utilizes a different compositional technique. Duration: approx. 20 minutes. First performed by: Peter Josheff, clarinet Ellen Ruth Rose, viola Michael Taddei, bass No recording available
Commissioned by the Snooty Chamber Orchestra. The instrumentation is violin, viola, cello, bass, clarinet, tenor saxophone, and bassoon, plus conductor. Between movements the conductor directs the ensemble in partially notated improvisations. Duration: variable, 10-20 minutes. Premiered by the Snooty Chamber Orchestra, at Bruno’s, San Francisco. No recording is available.
This is a short piece that explores extended techniques on the viola. Duration: approx. 8 minutes. No recording available
For two string quartets, bass, and three percussionists. This piece integrates notation and improvisation to create broad, monolithic textures. The ensemble is co-ordinated by stopwatch, rather than conductor. Duration: 32 minutes. Premiered at the Crucible Steel Gallery, San Francisco, 1996. No recording available
Here is an improvisation by Matt Ingalls (clarinet) and myself (on alto saxophone) performed live at KZSU on March 28, 1996, for the Day of Noise. Sorry for the poor sound quality of this recording — it came right off the board and onto a cassette tape.