difficult, especially rhythmically. involves improvisation.
grunt work for the avant-garde was written backwards. first i swiped the movement titles from a fund-raising letter i was folding. then i wrote the last movement. i took a snippet from the last movement and used that to write the third movement. then i took a snippet from the third movement and used it to write the second movement. and so on. this piece is dedicated to john wriggle. i dig his trombone and compositional stylings and tried to let that appreciation drive the decision making process in my piece. my boss should also know that i appreciate all the grunt work.
12'
2006.
score.
trombone.
clarinet.
violin.
cello.
accordion.
do consider making a donation (of any amount), if you choose to perform this piece, make copies of it, use it for educational purposes, if it has improved your life in any way (otherwise, yes, it's yours for free; it is copywritten, so give credit as necessary):
performance history: 11 March 2009. Elebash Recital Hall, The Graduate Center CUNY (NYC). John Wriggle, trombone; Jeff Hudgins, clarinet; Hubert Chen, violin; Pat Muchmore, cello; Kamala Sankaram, accordion; John Altieri, conductor 17 February 2009. The Living Theater (NYC). Anti-Social Music: John Wriggle, trombone; Ken Thomson, clarinet; Hubert Chen, violin; Pat Muchmore, cello; Kamala Sankaram, accordion; John Altieri, conductor 4 April 2007. Tonic (NYC). Anti-Social Music: John Wriggle, trombone; Ken Thomson, clarinet; Hubert Chen, violin; Pat Muchmore, cello; Maria Sonevytsky, accordion; John Altieri, conductor. 13 January 2007. BAM Café Live, Brooklyn. Anti-Social Music: John Wriggle, trombone; Ken Thomson, clarinet; Jean Cook, violin; Pat Muchmore, cello; Maria Sonevytsky, accordion. 2 December 2006. Issue Project Room, Brooklyn. Anti-Social Music: John Wriggle, trombone; Ken Thomson, clarinet; Hubert Chen, violin; Pat Muchmore, cello; Maria Sonevytsky, accordion |