Composers Workshop III

Sunday, April 3, 2022 at 7:30p in the Concert Hall



Graves Under Foot


Oliver Bostian, violin
Hsin-Hui Liu, piano

Not 1

Wolfgang Amadeus Mozart

aggravated by Mark RHEAUME
Matt Mason, piano

     This is Mozart's first piano sonata: sabotaged, erased, copied, pasted, blasted, wrung out, gutted, flush, faded, pilfered, leaking, lurching, keeling, bitter, littered, dwelling, domed, wide, naked, pulped, mossed over, etc.

String of Buttons


M Denney, electric guitar

     For a period of several years, including the first year of COVID, I kept a notebook with the common and scientific names of interesting cacti and succulents that I would come across. I titled every piece of electronic music I made in that period after one of the plants in that book. String of Buttons is the last of these pieces, and the only one for “acoustic” instruments. The piece consists of two cycles of different lengths; one harmonic, one rhythmic; and simply places those cycles in motion until they meet together at the end. String of Buttons was originally written for vibraphone and glockenspiel, though this version can serve as an exploration of the guitar in the context of more traditional percussion instruments.

In the Abyss… Sheening… Weathering

Ziang HAN

Kelly Hilil, mezzon soprano
John Manning, tuba
John Reyna, tuba
Ghadeer Abaido, prepared piano
Myron Peterson, conductor

     In the Abyss... sheening... weathering... is inspired by one of my recent compositions for tuba and saxophone Gazing at Ephemerality in My Broken Shadow. I was intrigued by the colorful possibility of sound articulated from tuba played in the Voxman concert hall, so I want to write something for it. I originally planned to write for 3 tubas, but as I know more people from music school, I decide to change it to 2 tubas (John Reyna the tuba student, John Manning the tuba professor) 1 prepared piano and mezzo soprano (Ghadeer Abaido and Kelly Hill, they are friends)
     These 3 types of instruments seem separate, but I use a lot of techniques that are very “echoing” to make them into a whole. Imagine you are sitting on the floor of a deep unknown ocean where the historically distanced and unrelated artifacts are presented in front of you because of the unceasing currents, and they are emanating this light sheen. It is so delicate as if it will go away after your next blink, but it will keep weathering and become part of the ocean over a long time. The text is from Kelly Hill’s favorite recitatives in multiple languages, but it’s not related to my sound (music) at all as if it is another entity trying to blend with the other 3 in this abyss.