Another TimeUniversity of Iowa Center for New Music; David Gompper, director

premiere: April 23, 2017, Concert Hall, Voxman Music Building, University of Iowa Center for New Music; David Gompper, director.

"Another Time" was written with this occasion in mind: coming back to the University of Iowa for a concert in the new Voxman Music Building. My first semester at Iowa in 1993 was delayed by a week because of flooding at the old building, which certainly was another time in my life. The title also refers to the layering of different divisions of pulse and rhythmic activity in the piece — sometimes the strings might be moving very slowly while the winds are fast; often, groups of instruments are playing simultaneously in compound vs. simple divisions on several levels. Pitch materials are layered as well. The piece opens with three diatonic pitch collections presented consecutively and soon moves to a contrapuntal section where each instrument is playing a different diatonic set, layered on top of one another. The central section of the piece features strata of activity grounded in an unlikely key area before a brief, solo piano passage leads to the final section. I would like to thank David Gompper, the Center for New Music, and the School of Music for the honor of being part of this year's activities to mark the opening of the new Voxman Music Building.

University of Iowa Center for New Music; David Gompper, director
 

Five Improptus for Two: IAshlee Mack and David Maki, piano

premiere (Mvts I, IV, V): April 15, 2015, Northern Illinois University; Ashlee Mack and David Maki, piano.

Five Impromptus for Two (2014)
I.
II.
III.
IV.
V.

"Five Impromptus for Two" was composed during sabbatical leave in the winter of 2014. My idea was to involve a performer as collaborator from the start of the compositional process. Pianist Ashlee Mack has been a performing partner of mine, shares many musical sensibilities with me, and made an ideal collaborator for this project. Several times over the winter, I brought short musical ideas (brief melodies, a few harmonies, etc.) to her and we used them as catalysts for improvisation. I recorded our sessions, listened and transcribed sections, and used them as source material in the composition of five short pieces.

Ashlee Mack and David Maki, piano
 

Five Impromptus for Two: IVAshlee Mack and David Maki, piano

premiere (Mvts I, IV, V): April 15, 2015, Northern Illinois University; Ashlee Mack and David Maki, piano.

Five Impromptus for Two (2014)
I.
II.
III.
IV.
V.

"Five Impromptus for Two" was composed during sabbatical leave in the winter of 2014. My idea was to involve a performer as collaborator from the start of the compositional process. Pianist Ashlee Mack has been a performing partner of mine, shares many musical sensibilities with me, and made an ideal collaborator for this project. Several times over the winter, I brought short musical ideas (brief melodies, a few harmonies, etc.) to her and we used them as catalysts for improvisation. I recorded our sessions, listened and transcribed sections, and used them as source material in the composition of five short pieces.

Ashlee Mack and David Maki, piano
 

Five Impromptus for Two: VAshlee Mack and David Maki, piano

premiere (Mvts I, IV, V): April 15, 2015, Northern Illinois University; Ashlee Mack and David Maki, piano.

Five Impromptus for Two (2014)
I.
II.
III.
IV.
V.

"Five Impromptus for Two" was composed during sabbatical leave in the winter of 2014. My idea was to involve a performer as collaborator from the start of the compositional process. Pianist Ashlee Mack has been a performing partner of mine, shares many musical sensibilities with me, and made an ideal collaborator for this project. Several times over the winter, I brought short musical ideas (brief melodies, a few harmonies, etc.) to her and we used them as catalysts for improvisation. I recorded our sessions, listened and transcribed sections, and used them as source material in the composition of five short pieces.

Ashlee Mack and David Maki, piano
 

Out of the Woods: I - ChaseAnthony Stoops, double bass; David Maki, piano

premiere: September 22, 2012; Austin Bass Fest, University of Texas; Anthony Stoops, double bass, David Maki, piano.

Out of the Woods (2012)

1. Chase
2. Stillness
3. Shadows/Song
4. [attacca] Circles

Out of the Woods was written for Anthony Stoops in the summer of 2012 and consists of four short movements. “Chase" begins with energetic imitation and builds towards a fast-paced ending. In “Stillness," I wanted to explore the upper range of the bass while contrasting the mood of the opening movement. “Shadows/Song" is a short, complex study in rhythmic dialogue where each instrument seems to be slightly ahead of, or behind the other, but also working with the other; the movement ends with an extended solo for the bass which leads directly (attacca) to the last movement. “Circles" is built of two contrasting textures: one that features a rhythmic and harmonic pattern in the piano, while the bass tries to keep extending its melodic line; the other is a more lyric, song-like texture. The two alternate for a few cycles, the last time slightly changed, until a brief coda ends the piece. The title refers not only to the primary material of which each instrument is constructed, but also to the decorative elements on Anthony’s bass. Thanks to Anthony for his energy and commitment to this project.

Anthony Stoops, double bass; David Maki, piano
 

Out of the Woods: II - StillnessAnthony Stoops, double bass; David Maki, piano

premiere: September 22, 2012; Austin Bass Fest, University of Texas; Anthony Stoops, double bass, David Maki, piano.

Out of the Woods (2012)

1. Chase
2. Stillness
3. Shadows/Song
4. [attacca] Circles

Out of the Woods was written for Anthony Stoops in the summer of 2012 and consists of four short movements. “Chase" begins with energetic imitation and builds towards a fast-paced ending. In “Stillness," I wanted to explore the upper range of the bass while contrasting the mood of the opening movement. “Shadows/Song" is a short, complex study in rhythmic dialogue where each instrument seems to be slightly ahead of, or behind the other, but also working with the other; the movement ends with an extended solo for the bass which leads directly (attacca) to the last movement. “Circles" is built of two contrasting textures: one that features a rhythmic and harmonic pattern in the piano, while the bass tries to keep extending its melodic line; the other is a more lyric, song-like texture. The two alternate for a few cycles, the last time slightly changed, until a brief coda ends the piece. The title refers not only to the primary material of which each instrument is constructed, but also to the decorative elements on Anthony’s bass. Thanks to Anthony for his energy and commitment to this project.

Anthony Stoops, double bass; David Maki, piano
 

Out of the Woods: III - Shadows/song; IV - (attacca) CirclesAnthony Stoops, double bass; David Maki, piano

premiere: September 22, 2012; Austin Bass Fest, University of Texas; Anthony Stoops, double bass, David Maki, piano.

Out of the Woods (2012)

1. Chase
2. Stillness
3. Shadows/Song
4. [attacca] Circles

Out of the Woods was written for Anthony Stoops in the summer of 2012 and consists of four short movements. “Chase" begins with energetic imitation and builds towards a fast-paced ending. In “Stillness," I wanted to explore the upper range of the bass while contrasting the mood of the opening movement. “Shadows/Song" is a short, complex study in rhythmic dialogue where each instrument seems to be slightly ahead of, or behind the other, but also working with the other; the movement ends with an extended solo for the bass which leads directly (attacca) to the last movement. “Circles" is built of two contrasting textures: one that features a rhythmic and harmonic pattern in the piano, while the bass tries to keep extending its melodic line; the other is a more lyric, song-like texture. The two alternate for a few cycles, the last time slightly changed, until a brief coda ends the piece. The title refers not only to the primary material of which each instrument is constructed, but also to the decorative elements on Anthony’s bass. Thanks to Anthony for his energy and commitment to this project.

Anthony Stoops, double bass; David Maki, piano
 

IltaDue East (Erin Lesser, flutes; Greg Beyer, percussion)

premiere: September 22, 2008, UW-Whitewater; Due East

Commercial recording: "Simultaneous Worlds," Due East (Greg Beyer, percussion; Erin Lesser, flute) Albany Records TROY 1215

Program Notes:

Ilta opens with gongs, alto flute and vibes in a slowly unfolding texture based on the spectrum of pitches contained in the low C# and E gongs. It is largely consonant in a somewhat modal-sounding area of three or four sharps. The solo flute introduces a more angular, less tonal sounding music that, after a few interruptions, provides the basis for the active middle section featuring C flute and glockenspiel. Slowly, the glockenspiel reintroduces the pitch collection from the first section; after a brief transition, the low gong marks the last section as the opening texture returns, but with C flute. This last section, along with the modal inflections of the entire piece, brought to my mind a specific image: I was in Finland with my dad one summer and each evening the sun would dip just below the horizon and the night would take on a glowing, quiet light, never getting completely dark. Ilta is the Finnish word for night or evening. Thanks to Greg and Erin for their enthusiastic commitment to new music and to this project.

Due East (Erin Lesser, flutes; Greg Beyer, percussion)Due East (Erin Lesser, flutes; Greg Beyer, percussion)
 

Blue RefractedDuo XXI (Anna Cromwell, violin; Mira Frisch, cello)

Duo XXI (Anna Cromwell, violin; Mira Frisch, cello)Duo XXI (Anna Cromwell, violin; Mira Frisch, cello)
 

AamuWolfgang David, violin; David Gompper, piano

Wolfgang David, violin; David Gompper, piano
 

Tamarack: IDuo XXI (Anna Cromwell, violin; Mira Frisch, cello)

 

Tamarack: IIDuo XXI (Anna Cromwell, violin; Mira Frisch, cello)

 

Tamarack: IIIDuo XXI (Anna Cromwell, violin; Mira Frisch, cello)

 

Tamarack: IVDuo XXI (Anna Cromwell, violin; Mira Frisch, cello)

 

Tamarack: VDuo XXI (Anna Cromwell, violin; Mira Frisch, cello)

 

Lake Sonata: I. FlowingStacey Barelos, piano

Stacey Barelos, pianoStacey Barelos, piano
 

Lake Sonata: II. Floating, lonelyStacey Barelos, piano

Stacey Barelos, pianoStacey Barelos, piano
 

Lake Sonata: III. Driving, with intensityStacey Barelos, piano

Stacey Barelos, pianoStacey Barelos, piano
 

Lake Sonata: [attaca] IV. ViolentStacey Barelos, piano

Stacey Barelos, pianoStacey Barelos, piano
 

Three Preludes - HillsAshlee Mack, David Maki, pianos

Ashlee Mack, David Maki, pianos
 

Three Preludes - SnowAshlee Mack, David Maki, pianos

Ashlee Mack, David Maki, pianos
 

Three Preludes - WindAshlee Mack, David Maki, pianos

Ashlee Mack, David Maki, pianos
 

MomentaUniversity of Iowa Center for New Music; David Gompper, director

University of Iowa Center for New Music; David Gompper, director
 

InertiaKatie Wiegman, marimba; Malika Green, steelpans

 

That Was Then. . .Gregory Barrett, clarinet; Paul Brandt, Shari Heda, offstage clarinets

 

DecemberIndiana University Contemporary Vocal Ensemble. text: Bruce Maki

Indiana University Contemporary Vocal Ensemble. text: Bruce MakiIndiana University Contemporary Vocal Ensemble. text: Bruce Maki
 

Triple TwoCarey Bostian II, cello; David Maki, piano

Carey Bostian II, cello; David Maki, piano