Music for me is about helping people attain a more intense awareness of their own life and to quote John Cage, creating “a music that transports the listener to the moment where he is.”
Read more on Bourgeon, an online arts publication whose mission is to increase participation in and access to the arts. Bourgeon serves as a bridge-builder between contemporary artists and audiences. My piece ran in the April 2015 issue.
In order to distance myself from practiced tones, positions, chords, and melodies it useful and sometimes necessary to step back and consider the obvious…
…the cello as an object…the role of gesture in sound…music as a result of movement.
My new solo release “Studies and Observations of Domestic Shrubbery” is now out on eh? records. Label boss Bryan Day did the artwork. Listen and purchase it here.
On this solo album I decided to limit my sound palate to only a few sound sources and not to use any of my usual electronics, preparations, motors, tapes, or amplified objects. Recently I noticed that the cello, clarinet, and cardboard could each produce very similar sounds that could be mistaken for breathing. This was the starting point. My music nowadays always includes everyday objects because of their domestic relationship and unpredictability, in this case the cardboard. The titles of the four tracks (Sky Saw, Boxwood, Giant Hogweed, and Chokeberry Swallow) relate to childhood memories and musical influences.
Last weekend Nate Scheible and I played music for Place Hold, a dance choreographed by Nancy Havlik at the Dance Place in Washington DC. Photo above by Brian Harris.
Photo above by Peter Cunningham.
My first solo cello release, Half-Full, will be finished this year. Only cello sounds will be presented; no electronics, amplified objects, or field recordings.
Vector Trio played at Pyramid Atlantic on 29 November 2014.
I recorded my cello outside the front door along with a cassette tape playing clarinet and cardboard sound events close to the mic. This lasted 20 minutes. The second half of the recording was pasted on top of the first half to produce a nine minute version. No further editing or post production was done. Hear it here.