I have always tried to “hear my own sound,” one which does not easily fall into any specific category but always displays a recognizable signature. Even when operating within a specifically-defined genre, I try to develop a unique vocabulary and syntax for the situation, whether a compositional strategy, instrumental technique, or conceptual paradigm. Each of these activities informs and feeds the others. Overall concerns in my music include notions of density, “groove” on both macro- and micro- levels, melodic materials inherent in the natural overtone series, and processes that lie on the border between order and chaos. No matter how abstract the process by which the music is conceived and composed, I believe that the music must operate from a human pulse, both explicitly, rhythmically, and more generally, embodying undefinable impulses and feelings.
Could this fellowship at Civitella have come at a better time? Exhausted physically and psychically from extensive touring, composing, and curatorial activities, I dreamed of a place to just reflect and breathe, sleep and read. And, of course, a place where I could compose without the pressure of the deadline. The sweet piney air, the great and enlightening company, and the incredible food refreshed and renewed my creative juices. Here, I was able to start a new orchestra piece continuing my use of biological metaphors of growth, reproduction, and transformation as well as continue work on a composition for the Japanese group Kokoo consisting of shauhachi and two kotos. Also germinated here were a number of melodic fragments for a new group to feature my soprano sax plus some solo pieces for acoustic guitar.
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