Los Angeles II

“Los Angeles II” from Places by Brad Mehldau

Jacob Walls, trumpet; Peter Gottlieb, horn; Christine Hulsizer, bari sax; Noah Fields, viola; Matt Gold, drums; Tom Bergeron, conductor

May 9, 2011

I’ve always wanted to know how this piece worked, so I transcribed it and arranged it for a quirky group. I stay true to the melody and form but copy a few figurations, lose some others, and invent a few new harmonies. Now I feel the need to embark on a serious viola/bari sax project…

“Leo” from Tierkreis

“Leo” from Karlheinz Stockhausen’s Tierkreis

Adam Lee, cello; Alex Creighton, drums; Nina Piazza, glockenspiel; Jacob Walls, trumpet; Matt Gold, conductor

April 23, 2010

Stockhausen constructed 12 music boxes that would play a series of melodies corresponding to the twelve signs of the Zodiac (each with a different tempo and each centered on the succeeding note of the chromatic scale). He published the melodies and rudimentary accompaniment figures as Tierkreis, to be realized by any group of sound-makers. A trip over to the Wikipedia page tells me that this is arguably his most popular composition. Huh. I guess Cosmic Pulses can’t catch a break.

My sign being Leo, Matt Gold asked me to realize the Leo melody for a concert by the Williams Percussion Ensemble. I incorporated some ideas from Stockhausen’s bare-bones accompaniment as I discovered a 5/4 march-groove that would suit it quite well.

Three Bands

Three Bands (2010) (6′)

for two solo horns and large ensemble


Elizabeth Irvin and Peter Gottlieb, horns;

Williams College Opus Zero Band, Steven Dennis Bodner, conductor

May 8, 2010

Steve Bodner asked me to write this piece for Elizabeth and Peter, following a tradition of his where juniors would write pieces to feature graduating seniors. In years previous, Brian Simalchik featured three cellists, Benjamin Wood featured an English hornist; and after Steve’s passing, I conducted the fourth work in this tradition by Laone Thekiso, featuring a string quartet.

The title, unfortunately, suggests a timbral division in the ensemble, or else invites a comparison to other monumental pieces such as Cage’s Three Dances. Knowing well enough that the piece probably deserves a better a title, I include here the notes that explain the original choice:

Three Bands takes its horn soloists and treats them as protagonists. After trips through three musical areas (at first stately and mercurial, turning aggressive but quizzical, and following with a chorale), the horns preside over their synthesis, having traded their opening teasing minor-thirds for stately minor-sevenths. So why call these three ideas bands? One of Ronald Reagan’s earliest political speeches takes the opportunity to deride a “morality gap” at UC-Berkeley by detailing the vices of a particular dance party. Two of the complaints were simple enough: the smell of drugs in the hall and the screening of videos with nudity. But the complaint that seemed out of place to me was that “Three rock and roll bands played simultaneously.” He cites only three sins, and one of them is purely musical? Maybe I shouldn’t have been so surprised: Mozart’s miscreant Don Giovanni dances to three superimposed tunes, and Stockhausen is a bit of a miscreant himself for scoring Gruppen for three orchestras. Even in pop music, The Flaming Lips’ release Zaireeka for four-disc simultaneous playback comes with a studio-imposed warning about the alleged dangerous effects of the high frequencies on the discs. Three Bands is not rock and roll music, and it’s not antiphonal. It is, however, about taking the horn soloists to a synthesis of three musics and teasing the boundary between gentle and mean sounds along the way. It edges right up to a morality gap, if there is one.