Copland's Appalachian Spring—Resonating to an America of Vibrant Extremes

In Appalachian Spring, Copland resonated to the vibrancy of our America, a resonance we particularly ache for today.

Rucksack—An Immigration Monodrama

Rucksack—my monodrama for Mezzo Soprano and chamber ensemble based on Julane Heyman’s escape from the Nazis.

Aquamarine from Water Rays

The first section from my impressionist resonant solo piano work titled Water Rays.

Variations in Beethoven's Appassionata Sonata—Playing the Repeats Differently

One reason I’ve wanted to perform Beethoven’s Appassionata piano sonata is to share a discovery I made about its exquisite slow movement variations when the repeats are played differently…

Hear Now Embraces Multiple Factions

Hear Now does not promote any single stylistic aesthetic, and that’s a wonderful thing in our new music world. The concert I attended Friday May 3 at Zipper Hall made that point with superb, detailed performances by the French ensemble TM+ and local musicians playing music by five very different and skilled composers—Threshold by Kay Kyurim Rhie,  candlepin.bowllng.deadwoodby Alan Schockley, Piccolo Play by Thea Musgrave, Glimpse by Joseph Pereira, and Concerto for Percussion and Chamber Ensemble by Willam Kraft. 

Bach's Color Wheel in Organ Sonata No. 2

My piano transcription of Bach’s Organ Sonata No. 2 1st mvt

Mahler's 9 Note Chord That Cracks Tonality Apart

Mahler’s incomplete 10th symphony is prophecy, a searing vision of a future world beyond tonality, while still holding on to tonal harmony for dear life.

Mahler's Eternal Recurrence...Das Lied's "Ewig"

The old and the new in Das Lied von der Erde (The Song of the Earth). Join the conversation and share your own feelings/ideas about this work we all love.

On Musical Theft

Musical theft periodically makes for sensational news. One band accuses the other of blindly stealing its hit melody. But what about art whose meaning primarily derives from reference to other works? This is a common aesthetic of our time, but it was already established around the turn of the 20th century with composers like Gustav Mahler and Charles Ives. In my Mahler series, this question always makes for stimulating discussion. What are the implications, resonances, meanings of musical theft?

Tears then Tango
Developing Variation...but in Beethoven's Eroica Funeral March

The profound 2nd movement Funeral March of Beethoven’s Eroica employs the motivic development that Brahms harnessed in his music, a technique called developing variation.

Entropy and Genesis—The First Movement of Beethoven’s Eroica 

Some of the master compositional brushstrokes in the opening movement of Beethoven’s 3rd symphony.

Beethoven’s Eroica—A Declaration of Liberty

Beethoven’s musical revolution in his Eroica symphony…

Paleface Trailer and Premiere Video

About Paleface

Inspired by the acclaimed paintings of New York “psychological pop” artist Jerry KearnsPaleface explores the persistence of the American hero myth, even as it breaks down on every level in our contemporary society. It begins with the Western cowboy mythos— horses, cowboys, folk songs and church hymns (Jesus plays a lurking role in the piece), even a gun fight. Then it jumps to the varied 20th century heroes who struggle and triumph over dark forces—detectives from pulp comics and film noir, the secret agent, and the muscled action hero. Paleface concludes with all these icons now as phantoms, struggling in the night to cohere and make sense of a world they no longer can possibly describe. They ultimately all go to church and fade away to a ghost gospel choir.