Wecome to our crazy three-ring multimedia circus! A little bit of history...
October 26, 2014
Eastman on the Fringe presents Histories
June 19, 2015
Part IV (Interlude)
December 31, 2014
"If quantum mechanics hasn't profoundly shocked you, you haven't understood it yet."
- Niels Bohr.
"Nothing can create something, all the time..."
- Lawrence M. Krauss
Part IV, entitled Harmonic Maneuvers, is inspired by the complex harmonic relationships among waves, and the hidden worlds that they inhabit all around us – the impossibly strange, invisible essence of our macroscopic reality. I sometimes walk around and try to imagine that I could see the waves of all kinds surrounding me, simple in their underlying nature, complex in their interactions and implications. I guess it’s kind of my version of a “happy place,” and maybe not all that dissimilar from the idyllic beach that a less neurotic person would choose, at least in that they both feature the mesmerizing interactions of waves. I remember sleeping in my great-grandfather’s workshop where he built and repaired clocks, listening to all of the pendulums phasing in and out – fantastical patterns arising from simple periodicity, a sound that seemed to transport me to a faraway place. For me, Harmonic Maneuvers is a journey through this miraculously strange reality that surrounds, not unlike the sonic landscape of that workshop. It further develops the larger motivic web (which began to grow in Part III from the fundamental sets presented in Parts I and II), exploring the idea of emergent order through symmetry breaking in nature. Particularly significant here is one of the linked-triad configurations developed in Part III, the first rhythmic motive from Part I (occuring at many different, overlapping rates), and certain time ratios: 3:4 and 4:3, 4:5 and 5:4.
A high-energy collision as monitored by the CMS experiement at the Large Hadron Collider (CERN)
This piece was originally written as a drum solo, commissioned by Aaron Staebell, with presentation and development of musical ideas occurring entirely in a the domains of rhythm and timbre. Percussionist Colleen Bernstein had been encouraging me to write something for marimba, so I decided, as an experiment, to simply apply corresponding pitch material to that set of rhythms. Only after writing this second version of the piece did it occur to me to perform the two together, in rhythmic unison, and that it had significant underlying tie-ins with the motivic material of H, which I was composing at the same time. I simply molded a chamber ensemble around this coupled core - drums and marimba - and used it to shine various kinds of light on the thematic ideas, ultimately revealing them to be stretched out and unpacked versions of the basic building blocks presented in the first two movements.
Part IV is inspired by and dedicated to Joseph Fourier, Louis de Broglie, Werner Heisenberg, and the thousands of brilliant scientists and technicians working at the Large Hadron Collider at CERN.