The main features of this collection are two live recordings of the piano solo, “Crystallization,” performed beautifully by Lydia Wu. The first includes a special electroacoustic soundscape as accompaniment and the last is the original piano solo in all its glory. In between these title tracks are a re-release of MMXX for violin solo AND the release of “Wabi-Sabi” as performed by yours-truly on 6-string electric violin. Enjoy!
The full recording of my “live electric” rendition of Wabi-Sabi is finished!
As you can see from the video of the first movement, “Emergence”, I was able to record all four string parts with my 6-string electric violin. This is definitely a fun piece to play–challenging, emotional, harmonious… 😀
Look for it to be included on an upcoming album release, but for now, enjoy this early sneak peek of the full recording below!
Presenting a fun video of the debut performance of movement 1 from “Wabi-Sabi (for string quartet)”!
As we’ve still been in quarantine mode at the start of spring, I thought I’d overlay myself playing all the quartet parts using my 6-string electric violin. And, of course, I wanted to show off my fiddle’s colorful lights at the start of the video. 😉
“Wabi-sabi acknowledges that just as it is important to know when to make choices, it is also important to know when not to make choices: to let things be.” (Leonard Koren in “Wabi- Sabi for Artists, Designers, Poets & Philosophers”.)
The aesthetic and metaphysical ideals that Japanese wabi-sabi encapsulates include simplicity, naturalness, and an acceptance of reality. This musical work seeks to illustrate the overall nature of wabi-sabi. At both the beginning of movement 1 and the ending of movement 3, notes are thought of as specks of Potentiality that are randomly evolving from or devolving to Nothingness. Movement 2, at the center point of this universal journey, expresses a concerted effort of diverse elements to create structure and meaning.
I have to admit that it’s a weird feeling, thinking about recording live musicians again, after this long year of distancing. I’d gotten so used to the idea of relying on myself and my computer for everything! But, while I do wonder if I will know “how to people” again soon enough (lol), I am looking forward to working with my friends and colleagues, making music in person again. And I think this project is a great way to get myself into the groove again. <3
Enjoy listening to this brand new compilation album of new chamber works, including my haunting tarot-quintet, “The Oracle“!
LOCK & KEY VOL II is the second presentation of five composers drawing from the well of inspiration – in highly heterogeneous ways and from a plethora of sources, yet all united by a common theme: the profound depths of the human experience. The pieces all revel exuberantly: in the natural beauty of Iceland, the nostalgia evoked by a distantly familiar melody, the random augury of a deck of tarot cards, late 19th Century anthems adapted for woodwind quintet, or the kinetic energy of musical gestures. Confidently asserting that all facets and walks of life can be a source of music if you listen closely enough, LOCK & KEY VOL II features brand-new chamber works by Sarah Wallin-Huff, Herbert Deutsch, Kenneth Kuhn, Carol Barnett, and Philippe Kocher.
This brand new internship for the CPP music department has been in the works this past Fall, and today we celebrate the debut episode!!!
The Music Couches in the Cal Poly Pomona music department are a legendary feature, and have been for many decades. It is a “sacred space” where students and faculty can enjoy each other’s company between classes, and talk about music, life, career… and everything in between! With this podcast, we strive to replicate that feeling during the pandemic lockdown.
I have the pleasure of acting as the episode producer/editor and faculty advisor for this project, as well as writing the podcast theme music.
New episodes will be available every two weeks. Enjoy!