Posts Tagged: Taylor Brook


10
Jan 17

American Works

Taylor Brook – Motorman Sextet score excerpt

Ekmeles performs 21st century American works, including a premiere by Andrew Waggoner, a work by director Jeffrey Gavett, Taylor Brook’s epic microtonal work, and portions of an opera by Erin Gee.

  • Taylor Brook – Motorman Sextet (2013)
  • Jeffrey Gavett – Peccavi fateor (2015)
  • Erin Gee – Three scenes from SLEEP (2008)
  • Andrew Waggoner – That Human Dream… (2014/2016) World Premiere revision

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13
Dec 13

NYU Residency

Ekmeles finishes out their residency at NYU with a concert, including a premiere by director Jeffrey Gavett, commissioned by NYU

  • Louis Karchin – To the Stars (2003)
  • Taylor Brook – Motorman Sextet (2013)
  • Peter Ablinger – Studien Nach der Natur (1997, 2002)
  • Thanasis Deligiannis – Ignored Manuals (2013) World premiere of revised version
  • Jeffrey Gavett – Quomodo Musica (2013) World Premiere

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11
Nov 13

JI Composers: Taylor Brook

This is the second in a series of conversations with composers who work in just intonation, and other microtonal systems. Questions from Ekmeles are bolded, the composer’s responses follow. This is a special edition, since we’re premiering Brook’s Motorman Sextet this Friday, November 15th, at the DiMenna Center.

Composer Taylor Brook

Composer Taylor Brook

Why not 12-note equal temperament?

I do sometimes use 12tet, however I consider 12tet as one possibility among many. Perhaps a better question for most composers would be: why use any temperament at all? I look to just intonation as a default tuning system because it is not a temperament, but the most direct way to think about intervals. Indeed, all temperaments are in relation to just intonation, a deformation of JI that serves an end that may have to do with the music or the construction of the instrument. With this in mind, if I choose to use a temperament then it should be a meaningful part of the composition. For example, in my new work for Ekmeles, Motorman Sextet, I employed pythagorean tuning in quotations of an organ prelude by Buxtehude in order to better invoke how the tuning of a Buxtehude piece would be realized by voices as well as create a division between the quotations of Buxtehude and my music.

Taylor Brook - Motorman Sextet score excerpt

Taylor Brook – Motorman Sextet score excerpt

Why the systems and pitches you use?

I tend to approach each new piece I write from as fundamental a place as possible. Most of my pieces begin with an idea that has nothing to do with pitch, and so pitch will then be controlled to serve some larger goal. Not until I have a clear idea of what I want to do with a piece, will I begin to think about how I will use pitch. This means that many of my pieces use very different systems or sometimes no system at all for pitch. With this said, I always think about pitch from the basis of just intonation. It’s important to remember that just intonation isn’t a system, just a way to measure the acoustic consonance of an interval, and so one must carve out a system from it as many composers do with 12tet.

What was your first encounter with microtones?

The first piece I heard with microtones was James Tenney’s Bridge and Flocking for two pianos tuned a quarter-tone apart. I was in high-school at the time and I was good friends with Tenney’s daughter and so was curious about his music and bought a CD of his works. I must say that I didn’t really understand or enjoy his music until years later and this encounter was not so meaningful to me other than bringing forward the idea that such a thing would be possible.

What piece of microtonal music that you didn’t write is most important to you?

I’m not sure about it being the most important, but the most meaningful microtonal piece for me is LaMonte Young’s The Well-Tuned Piano. During my undergraduate studies I spent a lot of time in the electronic music studio with another composer named Jacob Sudol. Jacob was doing his masters and gave me a lot of great recordings. One time he played The Well-Tuned Piano for my on the super-hi-fi speakers at the studio and it had a very strong effect on me. This piece is very direct and allows for enough time to deeply feel all of the pitch relationships as they are presented in different combinations and textures. It somehow invents and completes a genre of music all its own. Many composers have attempted to write pieces like this, but in my opinion, The Well-Tuned Piano is one of these truly unique works.


25
Sep 13

21st Century Americans

Ekmeles kicks off the 2013-2014 season with a program of 21st century American music.

  • Taylor Brook – Motorman Sextet (2013) World Premiere
  • Aaron Cassidy – A Painter of Figures in Rooms (2012) US Premiere
  • Elliott Carter – Mad Regales (2007)
  • Zosha Di Castri – The Animal After Whom Other Animals Are Named (2013) World Premiere
  • Adam Mirza – Safe Words (2011, rev. 2013)

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Supported by New Music USA’s Cary Fund For New Music Performance Fund and the Alice M. Ditson Fund of Columbia University


29
Jan 12

Columbia Composers

Ekmeles sings new works written for them & instruments by Columbia University composition students Taylor Brook, Courtney Bryan, Natacha Diels, Bryan Jacobs, and Alec Hall

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