Performances
October 18, 2026
3:00 pm
Premiere Performance
Harmonic Islands
Concerto for 12-string Fretless Electric Bass, 2 Violins, Viola, & Piano
Scott Drengsen, 12-string fretless bass (watch on YouTube)
Annamarie Arai-Lopez, violin
Sarah Biagini, violin
Caitlin Keen, viola
Ann Callaway, piano
Sonic Harvest
Berkeley, California
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HARMONIC ISLANDS, subtitled “Concerto for 12-String Fretless Electric Bass, Two Violins, Viola, and Piano,” is the result of my attempt to provide the soloist with a unique vehicle for this unique instrument. The sound of the 12-string can be anything from mystical and atmospheric to—-well, indescribable. While writing this piece, two traditions influenced me. The first was the solo concerto, giving the 12-string bass a straightforward theme and virtuostic opportunities for its development. The second is the Baroque concerto grosso, with its series of returns, or ritornelli, which comprise a readily recognizable harmonic idea. In this case the idea is played by two violins and viola. This idea, whose basically sunny, diatonic pattern makes its way upward in a series of whole and half steps, is a reminder that harmonic structures can accrete and emerge like harmonic islands rising out of the solo bass’s increasingly octatonic waters. A scalar motif by the piano, and even the viola in a kind of break-out gesture, further mark the progress of this concerto, which concludes with a lengthy cadenza and a vigorous tutti.
September 25, 2026
NGC 2997 – a spiral galaxy in the constellation Antlia
from Three Pieces for Piano, 1996
Lisa Raposa Millar, piano
Piano Lunaire – Harvest Moon Festival
Toronto, Ontario, Canada
Tickets & Information
Download Sheet Music (PDF)
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When I began writing the first of these pieces, I had no idea what it was or where it was going. An arpeggiated figure serves as the basis for continuation of….something, but whatever it was, “it” determined what it was going to do next. (Of course, “it” was me all along—-my musical training and every other aspect of my personal history.) I wrote out the score in a kind of musical dictation, as the first chord unfolded, paused, started again, and gathered momentum before morphing into new shapes of the original idea. A photo of the turquoise-hued spiral galaxy labelled NGC 2997 in my pocket guide to astronomy furnished a title for the finished piece, as it invoked in me a serene wonder in both the universe of the mind and the universe of time and space. The next piece, “Saturn,” consists mainly of stark, block-like chords in a minor key, contrasting in every way with its predecessor. Again, it was only after finishing that I was reminded of Albrecht Dürer’s Melencolia, where a winged figure sits brooding amid huge geometrical forms and implements for calculating the construction of something which can only be imagined by the artist himself. This seems to echo my own state of mind at certain points in the composing process. After the first delightful plunge into a new work comes a half for analysis, planning, and sometimes even moodiness, as I take stock of my composing materials. In astrology, which I was also studying back then, Saturn can refer to mortification, fixed form, and the grave. In a sense, the life-giving joy of creation must seek a way to revive its generating energy after the stasis needed for cogitation before it can reach its fulfillment. The third piece, “The Work of Sun,” is a term used in the alchemical tradition. Again, metaphor is the main thing. Instead of transforming “base matter” into actual gold, some scholars say that the alchemical writings should be studied as the artfully disguised path to enlightened consciousness. In the slow unfolding of the third piece, I imagined the germination of a seed as the leaves unfold to the sun’s rays and to the universe at large, at the same time its roots ground it to the physical world, to planet Earth.
November 16, 2025
7:30 pm
Tasmanian Blue, Part 1
Premiere of a quartet for horn, violin, piano, and percussion
Kyle Ko, horn
Dan Flanagan, violin
Jeffrey LaDeur, piano
Ann Callaway, “percussion obbligato”
Sonic Harvest
Berkeley, California
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Listen to the premiere performance
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The Tasmanian Blue Gum tree (Eucalyptus globulus) is not native to the Bay Area, but it has made itself at home here. Tilden Regional Park has acres of these menthol-fragranced giants, who have created their own environment of pale white columns reaching far upward before branching out into a haze of blue-green leaves. Woodpeckers go about their business in this unique habitat. The ground below is a bouncy yet ankle-swallowing, crackling carpet. A stiff breeze through the forest can produce banshee shrieks from resisting trunks. And as the sun sets and the native trees are already in shadow, the tops of “the Tasmanians” shine on in a silvery, glittering, eerie stratosphere of their own.
October 6, 2024
7:30 pm
Missa Brevis
Premiere of a vocal quartet for SATB
Erina Newkirk, soprano
Ben Rudiak-Gould, alto
Kevin Baum, tenor
Richard Mix, bass
Sonic Harvest
Berkeley, California
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Sound sample on YouTube: Gloria
Listen to the recorded performance
March 3, 2024
Including Three Existential Postcards for Piano and Char for Bass and Piano
Richard Mix, bass
Ann Callaway, piano
West Oakland Sound Series
Dresher Ensemble Studio
2201 Poplar Street
Oakland, California
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February 18, 2024
Devachan
Collage New Music
David Hoose, Director
Killian Hall at MIT - Massachusetts Institute of Technology
Cambridge, Massachusetts
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October 1, 2023
Char
Premiere of a new song cycle
for bass and piano
Nature poetry by Kurahara Shinjirô
Richard Mix, bass
Ann Callaway, piano
Sonic Harvest
Berkeley, California
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