Exceptet performs Septet:
And here’s a recording of the world premiere of my Violin Sonata by Rachel Lee Priday (violin) and David Kaplan (piano), from a concert of music for violin and piano that took place at Subculture on February 6th, 2015 under the auspices of a MATA Intervals concert! They did such a great job with a really difficult piece.
A blog said this about the sonata: “Kaplan described Eric Shanfield’s Violin Sonata as “disorienting,” and its clipped phrases, artfully assembled into a parade of stuttering rhythms, seemed plucked from a sheaf of sonatas from the 19th century.” These words, though appearing on the internet, are not incorrect.
If you liked that and want to hear a sort-of-the-same, sort-of-completely-different version for soprano saxophone and piano, then head to Minot, North Dakota, where Jim Fusik and Karl Larson will be premiering Not A Violin Sonata in March.
And if you liked that and want to hear my artful Violin Sonata in its original version performed by its dedicatees, Sarah Goldfeather and Timo Andres, stay tuned. There will be a concert in the fall, sometime, somewhere: exact details are existentially unknowable at the moment…
So you’re not going to believe this: another actual recording of my music, performed by real live humans, not their midi overlords!
Fresh from the 2014 Tribeca New Music Festival, here is the world premiere of my 2006 composition Borrowed Love Poems, featuring the incredible soprano Mellissa Hughes, my illustrious Red Hook compatriot, pianist Karl Larson, and featuring special guest interloper violinist Sarah Goldfeather. Enjoy!
Michael Robbins, y’all. Love him or hate him. I love some of his poems, hate some of his poems. Same as Yeats. Same as it ever was. Some of the ones I love I set to music. The piece is Plastic Robbins Band. Soprano and string quartet. Ima try and get this one performed. It’s a lot of fun. Quarter tone pop for the people.
Also while we’re at it I just did a new revised version of Little Kingdoms, my first real grown-up piece. There’s an actual recording of actual players on that page! What! Not of the new version, though. Not yet. I have a lead though. Anyway all I did was return the piece to its original three movement form (the three good movements of the withdrawn After the Quake’s six), added phrasing and slurs, changed the instrumentation from saxophones and clarinets to just three clarinets, and re-engraved the thing. I think it’s nice now! This is where it all began. So…many…eighth notes….
Ugh, I haven’t composed anything new in 2014 (unless you count the completely rewritten Spiral Jetty), but I have been hard at work rewriting, revising and engraving new versions of old pieces:
Late Sun (2003.1b) - New version for voice and string quartet
The Admonitory Hippopotamus (2007.6) – New engraving, some revision
Postcards (2007.7r) – New engraving
If Not, Winter (2007.12) – New engraving, some revision
Orfordness (2007.8r) – New version for baritone and 2 violins, new engraving
On the Natural History of Destruction (2008.7) – New engraving, some revision
Songswarm (2008.10r) – New engraving, some revision
Knots (2008.11) – New engraving
F-111 (2008.12) – New engraving
I read a lot of books so I started writing about the books I read. What I write about them is short. Because, really, who has the time. Thus, short book reviews dot tumblr dot com.
On March 12, 2014 – a day that will live in infamy – the gentlemen of BEARTHOVEN gave the world premiere of my composition Lightning Field at the New Amsterdam space in lovely Red Hook, Brooklyn. Special thanks to Karl Larson (piano), Pat Swoboda (bass), and Matt Evans (drums) for their hard work learning this incredibly difficult and intense piece!
Here, then, are the glorious results, available for free download:
And the score, for those who are into that kind of thing:
In a few months we’ll be heading into the studio to make a studio recording of Lightning Field for eventual release; in the meantime, enjoy!
The Little Kingdom of J. Franklin Payne has a lot more pictures now. Check it out!
‘Twas the day after Christmas and I didn’t want to feel like I was wasting my life, so I wrote a little piece. What Is Amazing sets a wonderful poem in four parts by Heather Christle for soprano with two violins and tuba (an obvious combination). Not my greatest work, and does not quite make my selected works list, but it has got its moments. Also I like that it was composed entirely with pencil on paper, because it is nice to be old-fashioned sometimes.
You know what is good? An old-fashioned. I didn’t know that until this year. Thanks, Elise!