Move, tongue is an attempt to create a non-linear space in sound, where the order of events is not important but rather the experience and perception of their coexistence. In my mind this is analogous to the act of being in a physical space (say a room or a park) and after perceiving it with whatever degree of detail, one arrives at an internal conception — a modeling — of the space.
Performed by Matt Ingalls; December 12, 2011, Hertz Hall (UC Berkeley)
Improvised music for clarinet and live electronics, Paris, 2002
Please tell us more about your thoughts about duets and the evolution of your playing in this format.
Temper for bass clarinet and electronics
En círculo (2008) for alto saxophone, clarinet/bass clarinet, horn, trumpet, trombone, double bass, percussion, and piano
duration, 18'
excerpt performed by the San Francisco Contemporary Music Players
Listening to me practice the piano in this piece, my sister said, “I hear all sorts of natural sounds, things blowing, shaking, leaves rustling, waves rolling”.
Threads
Electroacoustic sextet
Commissioned by the Paul Dresher Ensemble
Composed 2002 while a graduate student at UC Berkeley, realized at CNMAT
Premiered February 28, 2003 at ODC Theater, San Francisco, CA
viola samples performed by KURT ROHDE
bass clarinet samples performed by PETER JOSHEFF
Recorded on In Sound (Tzadik) by Paul Dresher Ensemble
KAREN BENTLEY violin
(The text that follows is adapted from a text by Beth E. Levy. The full text can be found in the liner notes of the Edmund Campion/SFCMP Outside Music CD, Albany Records Troy 1037)
