SOLO
Turtle and Rat for solo pipa (2012) 5'30"
vertigo for solo violin (2009) 4'45"
Three Pieces for Carillon (2006-7) 8'
A Play of Intentions for solo harp (2003) 4'
Three Sketches for solo piano (2003) 4'30"

DUO
The Angry Birds of Kauai for violin and piano (2012) 5'
TAG for 2 violins and electronic drone (2010) 3'
restrictions apply, see details for violin and clarinet (2007) 1'30"
Metamorphosis for solo violin and piano, arr. (2001-6) 20'
Six Sketches for violin and piano (2003) 10'

TRIO
binalig for percussion trio (2011) 5'
Dirge for violin, piano and kulintang (2007) 7'
Kulintang Suite for violin, piano and piano assistant (2005-6) 18'
Elegy for violin, piano, and percussion (2000) 6'

QUARTET
Prelude and Mutation for Bb clar., vn., vc. and perc. with elec. drone (2012) 9'
dopamine for string quartet (2007) 13'
Short Quartet for string quartet (2005) 1'45"
Tidtu for saxophone quartet (2004-5) 8'
Metamorphosis II for string quartet (2002) 23'

QUINTET+
Wizard Island for septet [fl,cl,hn,perc.,vn,vla,vc] (2016) 11'
Four Little Sketches for string quintet [2vn,vla,2vc] (2013) 5'
Pulau Dewata for seven percussionists [Vivier/Myers] (1977/2009) 13'
Makassar Strait for quintet [bcl,vibes,pno,vn,vc] (2008) 11'
    >>>also available for quintet [fl,mba,pno,vn,vc]

Roaring Fork for sextet [bcl,hn,perc,hp,vc,cb] (2009) 5'30"
In memory of Allen Strange for sextet [bcl,vibes,pno,vn,vla,vc] (2008) 8'
Overture for Strings for Hutchins East [vns: T,S,M,A,T,B,Sb,Cb] (2012) 6'
    >>>also available for string octet [4vn,vla,vc,2cb]

ORCHESTRAL/BAND

Escape for orchestra (2016) 11'
Liberation for orchestra (2008) 6'30
Organum-Tambura for Large Wind Ensemble (2007) 23'
after Escher for orchestra (2006) 8'
Regeneration for orchestra (2003) 9'
Metamorphosis for violin and orchestra (2001) 20'
    >>>also available for violin, string orchestra, and piano
6 Kleine Klavierstücke, Op.19 [Schoenberg/Myers] for orch. (1998) 6'

OPERA/VOCAL

Buried Alive, one act opera (2014) 40' [Quincy Long, libr.]
Maren of Vardø: Satan's Bride, 3 act opera (2015) 90' [Royce Vavrek, libr.]
The Hunger Art, one act opera (2008) 22' [Royce Vavrek, libr.]
*
Islands of Death for mezzo-soprano and violin (2016) 23'
The Hula Pa-ipu for soprano and cello (2015) 4'
He mele no Kane for soprano and piano (2014) 7'
E---- for bass cl., bari, tpt, trb & elec. drones (2014) 10'
Requiem Aeternam for soprano and string quartet (2014) 50'
The Age of Assassins for tenor, horn and piano (2008) 15'
Rosamounde for treble voice and viola (2008) 6'
Baudelaire Songs for soprano and piano with assistant (2005) 17'
Zamrażane Słowa (Frozen Words) for SATB chorus and piano (2002) 6'

ELECTRONIC/NEW MEDIA

Buzz, a sound installation for amplified electric machines (2005)
Gestations for electronic playback (2001) 4'13"
Five Parametric Etudes for Disklavier (1996-8) 9'30"


CLICK ON TITLES for more information

SCROLL DOWN for notes, scores and audio samples

To obtain DEMO RECORDINGS & INTERNATIONAL SHIPPING RATES
>>>Email contact@jeffmyersmusic.com

 




WORKS LIST



SOLO/CHAMBER


SOLO


Turtle and Rat for solo pipa (2012) 5'30"

Turtle and Rat is a two movement set for solo pipa which were inspired by the two eponymous animals. The Turtle is depicted by characteristicly slow and bumbling music. I chose a simple Rondeau form (ABACA) for this piece--each subsequent refrain is a little different, developing the music by adding increasing pipa techniques to color the melody. The Rat is more wily, being depicted by pitch bends and other ornaments which tweak the pitch. The form is a modified palendrome (the second half of the form is really the first part in reverse)--the music is circular and returns to the beginning in the way that a rat returns to the hole after scampering about. These two movements were written for pipa virtuoso Yang Jing, who premiered them at the University of Hawaii at Manoa in 2012.

BUY THE RECORDING ON AMAZON or iTUNES (new release)


LISTEN below (click on titles)
Turtle and Rat - Yang Jing, pipa
The Turtle
The Rat
View SCORE SAMPLE
PDF SCORE for $15
PRINTED SCORE for $20 (+$5 shipping for domestic USPS)
ADDITIONAL PRINTED SCORE(S) for $15 (after purchase of option 2)(free shipping)

- SELECT FORMAT -
 


vertigo for solo violin (2009) 4'45"
vertigo uses scordatura (retuning) to achieve special "dizzying" texture. The constant alternation between the harmonics and conventional passages attempt to illustrate the sensation of vertigo: fear, disorientation and the momentary loss of balance. Andie Springer premiered vertigo with the ensemble Redshift in 2010.

LISTEN here - Andie Springer, violin - live at Galapagos, Brooklyn

View SCORE SAMPLE

PDF SCORE for $15
PRINTED SCORE for $20 (+$5 shipping for domestic USPS)
ADDITIONAL PRINTED SCORE(S) for $15 (after purchase of option 2)(free shipping)

- SELECT FORMAT -
 

Three Pieces for Carillon (2006-7) 8'

Three Pieces for Carillon was written for Richard Giszczak, a carilloner and chemistry professor at the University of Michigan. The first movement "Kulintang," evokes Filipino kulintang gongs (see my other kulintang pieces), the second movement "Hymn to Claude Vivier," uses melodic devices inspired by Vivier, and the last movement "Resonant Bodies" creates a stream of continuously modulating, whirling sound. Giszczak premiered the pieces at UM in 2007.

LISTEN below (click on titles) (recorded demo by Neil Thorncock)

I. Kulintang
II. Hymn to Claude Vivier
III. Resonant Bodies

View SCORE SAMPLE

PDF SCORE for $15
PRINTED SCORE for $20 (+$5 shipping for domestic USPS)
ADDITIONAL PRINTED SCORE(S) for $10 (after purchase of option 2)(free shipping)

- SELECT FORMAT -
 


A Play of Intentions for solo harp (2003) 4'

A Play of Intentions is a short fantasy for harp which plays with the idea of recurring expectations. It was written for Julie Barnes, who premiered it in October of 2003 at Rochester Contemporary in Rochester, NY.

LISTEN here - Julie Barnes, harp - live at Rochester Contemporary

View SCORE SAMPLE

PDF SCORE for $15
PRINTED SCORE for $20 (+$5 shipping for domestic USPS)
ADDITIONAL PRINTED SCORE(S) for $10 (after purchase of option 2)(free shipping)

- SELECT FORMAT -
 


Three Sketches for solo piano (2003) 4'30"
The Three Sketches develop two basic pianistic gestures, the chord and the arpeggiation. The first sketch takes the phrase and fixed-pitch stucture of Filipino kulintang music and superimposes it onto a chromatically shifting chordal accompaniment. The overtone series figures prominantly in the last two sketches as a harmonic device. The Three Sketches were written for Ralph van Raat in 2003.

LISTEN below (click on titles)
Three Sketches - Ming-Hsiu Yen, piano
I. Del Kulintang
II. Toccata
III. Hommage à Rameau

View SCORE SAMPLE

PDF SCORE for $15
PRINTED SCORE for $20 (+$5 shipping for domestic USPS)
ADDITIONAL PRINTED SCORE(S) for $10 (after purchase of option 2)(free shipping)

- SELECT FORMAT -
 


DUO



The Angry Birds of Kauai for violin and piano (2012) 5'

The Angry Birds of Kauai was inspired by the multitudes of birds that squawk and sing in cacophony every morning on the Hawaiian island of Kauai. The melodies and gestures imitate the rapid birdsong banter that they accomplish when they call, respond and furiously compete for mates. Though the birds may or may not be angry, I definitely was after being woken up in the country every morning at the crack of dawn. This work was created specifically for Hilary Hahn's 'In 27 Pieces: the Hilary Hahn Encores' online contest. It was subsequently awarded the Grand Prize and was be performed and recorded by Hilary Hahn in 2013.*

BUY THE RECORDING ON AMAZON!
   

*The forthcoming score (The Edition of all 27) will be available at musicnotes.com and Boosey & Hawkes in print soon.



TAG for 2 violins and electronic drone (2010) 3'

TAG was written for the New York Miniaturist Ensemble. It uses scordatura harmonics on the 2nd violin part and a CD recording of an electronic drone. The name refers to a type of graffiti which is consists of a short, single word that is quickly written in a single gesture. This short piece for violin duo was written quickly, and may be heard as a protracted, single gesture. Christopher Otto and Erik Carlson premiered TAG at the Tank in NYC in 2010.

LISTEN here - Christopher Otto & Erik Carlson, violins - live at The Tank NYC

View the SCORE [FREE DOWNLOAD]

Download the electronic DRONE mp3 here
- or the high-quality wav file here



restrictions apply, see details for violin and clarinet (2007) 1'30"

restrictions apply, see details was written for the New York Miniaturist Ensemble. It uses scordatura harmonics on the violin part so that all microtonal notes are precise and consistent. The clarinet has some microtonal multiphonics as well. It was premiered at the Stone in NYC on October 12, 2007 by Erik Carlson (vn) and Joshua Rubin (cl).

View the SCORE [FREE DOWNLOAD]



Six Sketches
for violin and piano (2003) 10'

The Six Sketches, arranged for violin and piano are a set of contrasting, short movements which explore the dynamic between violin and piano. Each movement has different mode of operation: the first gradually shifts rhythmically and registrally, the second is a dramatic narrative, the third shifts coloristically and rhythmically, the fourth is another dramatic piece, the fifth shifts metrically and the last movement has an gradually changing ostinato-like rhythm which is occasionally interrupted an arpeggiated gesture. The Six Sketches were premiered by violinist Yuki Numata and pianist Ming-Hsiu Yen at the Midwest Composers' Symposium at the University of Michigan in October of 2004.

LISTEN to audio samples on Amazon.com!

BUY THE RECORDING ON AMAZON!

View SCORE SAMPLE

PDF SCORE for $20
PRINTED SCORE for $30 (+$5 shipping for domestic USPS)
2 PRINTED SCORES for $35 (+$5 shipping for domestic USPS)
ADDITIONAL PRINTED SCORE(S) for $10 (after purchase of option 2)(free shipping)

- SELECT FORMAT -
 


Metamorphosis arr. for solo violin and piano (2001-6) 20'
OTHER VERSIONS:
arr. for violin, string orchestra and piano (2001-8) 20' [Wordless Music Orchestra v.]
violin and full orchestra (2001) 20' (original version)

Metamorphosis is a dramatic violin concerto which juxtaposes and recombines three contrasting sound-worlds which synthesize and transform themselves throughout the musical narrative. Metamorphosis was premiered by violinist Yuki Numata under conductor David Gilbert with the Eastman Philharmonia at Eastman Theatre in May of 2002. This piano reduction was premiered at Symphony Space in 2007.

Listen here - Yuki Numata and Ming-Hsiu Yen - live at Symphony Space (2007)

View SCORE SAMPLE

PDF SCORE & PART for $30
PRINTED SCORE & PART for $40 (+$5 shipping for domestic USPS)
ADDITIONAL PRINTED SCORE(S) for $20 (after purchase of option 2)(free shipping)

- SELECT FORMAT -
 


TRIO



binalig for percussion trio (2011) 5'

binalig was written for Timetable Percussion in 2011. It is scored for small gongs (or any similar graduated percussion with a definite pitch), any kind of drum, and drum set with an agung, or any large gong. The variable instrumentation allows the players to color the piece the way that they like, or to play the instrument that they would prefer to play. The ensemble vaguely resembles a Filipino kulintang ensemble, which usually features a soloistic gong set, a continuous drum beat, and a set of large gongs which play a bass pattern. The form of the piece is also similar to kulintang music, in that it uses short cyclical melodic motives. In my piece, these patterns develop and morph in different directions than conventional kulintang pieces, but nonetheless, the ethos of kulintang pervades the music throughout. In the kulintang repertoire, the "binalig" genre represents a modern or progressive approach to the performance and compositon of kulintang music.

LISTEN here - Timetable Percussion live at AC Center (2011)

View SCORE SAMPLE

PDF SCORE & PARTS for $20
PRINTED SCORE & PARTS for $30 (+$5 shipping for domestic USPS)
ADDITIONAL PRINTED SCORE(S) for $15 (after purchase of option 2)(free shipping)

- SELECT FORMAT -
 


Dirge (for the victims of veiled tyranny) for violin, piano and kulintang (or similar nipple gongs) (2006-7) 7'

Dirge (for the victims of veiled tyranny) was written for violinist Yuki Numata, pianist Ming-Hsiu Yen and myself on the kulintang gongs. This piece is dedicated to all of the victims of veiled tyranny (i.e. institutions or programs which appear benevolent, but are mainly interested in power and control). This piece was written with three instrumental characters in mind: the violin acts as a narrator, the piano represents the fixity of reactionary dogma, and the kulintang (indigenous Filipino instrument/repertoire) represents the fight for change. The relationship between these layers creates a tension which gives rise to explosions, interruptions and convergences.

LISTEN to an excerpt - Yuki Numata, vn; Ming-Hsiu Yen, pf; Jeff Myers, kulintang

View SCORE SAMPLE

PDF SCORE for $15
PRINTED SCORE for $20 (+$5 shipping for domestic USPS)
3 PRINTED SCORES for $40 (+$5 shipping for domestic USPS)
ADDITIONAL PRINTED SCORE(S) for $15 (after purchase of option 2)(free shipping)

- SELECT FORMAT -
 


Kulintang Suite for violin, piano and piano assistant (2005-6) 18'

The Kulintang Suite for violin, piano and assistant is a set of pieces based on and inspired by kulintang gong melodies. All but the first melody are based on real kulintang pieces. Many of the original melodies are distorted, contracted and re-pitched for expressive reasons. In movements II, IV and VI, the assistant mutes and or stops the piano strings, turning the piano into a gong-like percussion instrument.The Kulintang SuiteYuki Numata, with composer Ming-Hsiu Yen on piano along with myself as the assistant at Ms.Numata's Master's Degree Recital at the University of Michigan in March of 2006.



LISTEN to audio samples on Amazon.com!

BUY THE RECORDING ON AMAZON!

View SCORE SAMPLE

PDF SCORE for $20
PRINTED SCORE for $25 (+$5 shipping for domestic USPS)
3 PRINTED SCORE(S) for $40 (+$5 shipping for domestic USPS)
ADDITIONAL PRINTED SCORE(S) for $15 (after purchase of option 2)(free shipping)

- SELECT FORMAT -
 


Elegy for violin, piano, and percussion (2000) 6'

Elegy was not written as a reaction to any specific event, but is pervaded nevertheless by an air of somberness and ritual. It was written while in residence at the CSU Summer Arts Festival in Fresno, CA where it was premiered by violinist Hebe De Champeaux, pianist Jennifer Maybee and percussionist Matthew McClimon in July of 2000.

LISTEN here - Michael Jorgensen, vn; Winnee Cheung, pf; Sean Connors, perc. (2001)

View SCORE SAMPLE

PDF SCORE for $15
PRINTED SCORE for $20 (+$5 shipping for domestic USPS)
3 PRINTED SCORES for $40 (+$5 shipping for domestic USPS)
ADDITIONAL PRINTED SCORE(S) for $15 (after purchase of option 2)(free shipping)

- SELECT FORMAT -
 



QUARTET



Prelude and Mutation for Bb clarinet, violin, 'cello and percussion with electronic drone (2012) 9'

Prelude and Mutation was written for The Links at the behest of violinist Yuki Numata in 2012. The Prelude serves as a metaphor for a great world tradition: the musical style was inspired by the violin music of South India; after it is over, we enter the mutation phase, which gradually adds layers of harmony-color, interruptions, fragmentation, and rhythmic counterpoint (provided by the tabla-like percussion). The mutation is a metaphor for the modern condition and corruption of a longstanding tradition. The constant drone imitates the sound of a shruti box, tambura, or other Indian-like drone device or instrumental color. The premiere took place at the Stone NYC in March of 2013

LISTEN here - The Links live at the Stone NYC (2013)

View FULL SCORE

Parts are available upon request, email contact@jeffmyersmusic.com


dopamine for string quartet (2007) 13'

dopamine was written for the JACK Quartet. It uses scordatura (retuning) and natural harmonics on the all the instruments to obtain precise microtonal notes and chords. The title refers to a hormone and neurotransmitter which occurs in humans and some mammals. Dopamine is typically associated with the pleasure system; people with higher dopamine levels tend to seek out more pleasurable activities and vice versa. Dopamine is also associated with creativity and the generation of new ideas. I used dopamine as a metaphor for this string quartet because it was written within a short span of a few days in an unprecedented creative fervor. My motivation came from both the creative experience and from the music itself, which gave me great pleasure to listen to. Perhaps my own level of dopamine was very high as I wrote this music. I suppose I will never know.

LISTEN here - JACK Quartet at Library of Congress (2010)

View SCORE SAMPLE

PDF SCORE & PARTS for $25
PRINTED SCORE & PARTS for $35 (+$5 shipping for domestic USPS)
ADDITIONAL PRINTED SCORE(S) for $15 (after purchase of option 2)(free shipping)

- SELECT FORMAT -
 


short quartet for string quartet (2005) 1'45"

short quartet was written especially for the St.Petersburg Quartet while they were in residence at the University of Michigan. As the title implies, it is short, yet it employs a dramatic arc, traversing a small world in just under two minute's time.

LISTEN here - St.Petersburg Quartet (2005)

View the SCORE [FREE DOWNLOAD]

Parts are available upon request, email contact@jeffmyersmusic.com



Metamorphosis II
for string quartet (2002) 23'

Metamorphosis II, a string quartet in one movement, is a tour-de force, traversing quiet sonorities, amorphous textures, driving rhythms, and lyrical outpourings. Most of the musical motives and melodies are remotely derived from the R&B tune California Soul. Although this tune is never heard, elements of it pervade the piece is various guises. Metamorphosis II was written on a commissioning grant from the Fromm Foundation and premiered at the Eastman School of Music by Christopher Otto, Yuki Numata, Kirsten Swanson, and Kevin McFarland in February of 2003.

LISTEN here - Premiere performance (2003)

View SCORE SAMPLE

PDF SCORE & PARTS for $30
PRINTED SCORE & PARTS for $40 (+$5 shipping for domestic USPS)
ADDITIONAL PRINTED SCORE(S) for $20 (after purchase of option 2)(free shipping)

- SELECT FORMAT -
 


Tidtu for saxophone quartet (2004-5) 8'
Tidtu [TEED-too] is a style of Philippine kulintang music, a genre which is played by an ensemble of gongs and a drum. My piece takes a tidtu melody and gradually transforms it into a swirling harmonic texture. Tidtu was commissioned by the PRISM Quartet and premiered in New York City at Symphony Space in May of 2005.

LISTEN here - PRISM Quartet (2005)

View SCORE SAMPLE

PDF SCORE & PARTS for $20
PRINTED SCORE & PARTS for $30 (+$5 shipping for domestic USPS)
ADDITIONAL PRINTED SCORE(S) for $15 (after purchase of option 2)(free shipping)

- SELECT FORMAT -
 


QUINTET+



Wizard Island for septet [fl,cl,hn,perc.,cn,vla,vc] (2016) 11'

At Crater Lake National Park, a small island sits in the middle of the lake. Wizard Island, named for its wizard-hat shape, is a sacred place for the native Klamath tribe. While thinking about this location, I thought about the name of the island, its mysterious appeal, and its stunning location. This septet is a fantasy on the idea of a prehistoric ceremony, inspired by this island on a lake in a great caldera of an ancient volcano. The first movement depicts a procession: horns calls and drums, along with a blaring overtone chord signal the beginning of the event. The second movement is a scherzo-type movement, fast and mercurial. I imagine a crowd of people fussing around, showing magic tricks, playing and making merry before the big event. The third movement has a lyrical hymn-like melody which I imagine is some kind of special prayer for the sacrifice. In the final bars, the drums and blaring chords return, as the cello crescendos to a fever-pitch as a sacrifice is made for the gods. Wizard Island was written on commission from Music in the American Wild, an ensemble formed to tour United States National Parks for the centennary celebration. It was premiered in Mammoth Cave National Park and toured across the country in the summer of 2016.

Email contact@jeffmyersmusic.com for MIDI or a set of digital parts!



Four Little Sketches for string quintet [2vn,vla,2vc] (2013) 5'

The Four Little Sketches were written during my residency at the Bloomingdale School of Music as part of my residency with Con Edison?s Exploring the Metropolis program. It was commissioned by Bloomingdale especially for this concert. I chose the ensemble?string quintet with two cellos?because I wanted something a little richer than a string quartet, but just as nimble. As this was a commission for young musicians, I thought it would be good to set up the piece in short movements, each introducing various contemporary techniques (quarter-tones, special bow techniques, unsynchronized parts etc.) in small doses. Outside of practical pedagogical concerns, the piece also allowed me to explore contrasting musical ideas within the span of only a few minutes.

The first movement, The Neighbors, is literally taken from the experience of composing this music in my apartment while banging noises and music filtered through the walls, constantly interrupting me. (This is a typical New York problem, so I?m sure most people can relate!) The second movement, Currents, is a metaphor for a kind of flowing, as in a river or electrical current. The third movement is untitled?a study in harmony and color, this movement explores a particular chord based upon the overtone series (the collection of frequencies present in most tones, including these string instruments). The final movement, Alarm, relates to the first and second movements, but is much more aggressive in nature, representing another phenomenon which we all know: car alarms?which blare out of nowhere, briefly interrupting the serenity of my New York day.

View the FULL SCORE [FREE DOWNLOAD]

Email contact@jeffmyersmusic.com for MIDI or a set of digital parts!



Pulau Dewata for seven percussionists [Vivier/Myers] (1977/2009) 13'

A stay in Bali in 1976 marked a turning point in Claude Vivier's career. Most of the subsequent works were to show the influence of the atmosphere of this Pacific island, whose inhabitants call it the "Island of the Gods," or Pulau Dewata. Vivier said of this piece, "I wanted to write...a piece imbued with the spirit of Bali: its dances, its rhythms and, above all, an explosion of life, simple and candid." The original score does not indicate any instrumentation, rather, it is left to the performers to decide. This orchestration draws on the sounds of the Indonesian Gamelan, using a small percussion orchestra, including gongs, mallets and drums, to signify the Balinesian spirit to which Vivier alluded. It was commissioned by Jeffrey Milarsky for the Manhattan School of Music Percussion Ensemble in 2009.

LISTEN here to the premiere performance (2010)

View the FULL SCORE

Email contact@jeffmyersmusic.com to obtain score and parts!



Makassar Strait for quintet [bcl,vibes,pno,vn,vc] (2008) 11'

OTHER VERSIONS:
arr. for quintet [fl,mba,pno,vn,vc] (2012) 11'

Makassar Strait was written for TRANSIT, a New York-based group which is dedicated to performing music from all home and abroad. Makassar Strait is a body of water which connects the island of Mindanao, Philippines with the Indonesian Island of Java. Three of the four movements make use of Filipino kulintang (gong percussion) melodies woven into the fabric of the music. The third movement represents an excursion to Java via Makassar Strait. Hints of Javanese Gamelan color the tone of this movement. The final movement plays with Escher-inspired musical textures and counterpoint.

LISTEN below (click on titles)

Makassar Strait (original v.) - Boston New Music Initiative (2011)
I. Kulintang I (Doppler-Morphing)
II. Kulintang II (Rhythm-Sculpture) - III. of Java (Interlude)
IV. Kulintang III (Escher-Counterpoint)

View SCORE SAMPLES - original version - arrangement

PDF SCORE & PARTS for $20
PRINTED SCORE & PARTS for $30 (+$5 shipping for domestic USPS)
ADDITIONAL PRINTED SCORE(S) for $15 (after purchase of option 2)(free shipping)

- SELECT FORMAT -
- SELECT VERSION -
 


Roaring Fork for sextet [bcl,hn,perc,hp,vc,cb] (2009) 5'30"

Roaring Fork was written for a special Exchange concert presented by the New World Symphony. In anticipation of a weekend of concerts devoted to Charles Ives, New World commissioned four composers: David T. Little, Timothy Andres, Daniel Manoiu and myself, to write works that somehow tied into Charles Ives' music. My piece, Roaring Fork, is based on Ives' The Housatonic at Stockbridge (from his Three Places in New England) in combination with my own experiences with the Roaring Fork river in the Colorado Rockies. My piece evokes a topographical journel along the river, capturing its essential features in music. Using bass instruments, folk melodies and special techniques, I make a musical-historic recreation of experiences from melting snow, to whitewater rapids, to the confluence with the Colorado River. This commission was made possible by the American Composers Forum with funds from the Jerome Foundation.

LISTEN here - New World Symphony [chamber players] (2009)

View SCORE SAMPLE

PDF SCORE & PARTS for $20
PRINTED SCORE & PARTS for $30 (+$5 shipping for domestic USPS)
ADDITIONAL PRINTED SCORE(S) for $15 (after purchase of option 2)(free shipping)

- SELECT FORMAT -
 


In Memory of Allen Strange for sextet [bcl,vibes,pno,vn,vla,vc] (2008) 8'

In memory of Allen Strange was written for the Aspen Contemporary Ensemble. These two movements are dedicated to my former teacher Allen Strange (b.1943 d.2008). His passing made me reflect upon various memories of him at San José State University where I worked with him as a student in 1997. Allen once claimed that all of his pieces had the tune "Over The Rainbow" hidden somewhere in them--this was a kind of game for him. Much of the material for my piece was generated out of this melody: almost all of the string material and much of the percussion and other parts are permeated with its contours.

LISTEN below (click on titles)

In Memory of Allen Strange - Aspen Contemporary Ensemble (2008)
I. First Movement
II. Second Movement

View SCORE SAMPLE

PDF SCORE & PARTS for $20
PRINTED SCORE & PARTS for $30 (+$5 shipping for domestic USPS)
ADDITIONAL PRINTED SCORE(S) for $15 (after purchase of option 2)(free shipping)

- SELECT FORMAT -
 


Overture for Strings for Hutchins Consort [vns: T,S,M,A,T,B,Sb,Cb] (2012) 6'

OTHER VERSIONS:
arr. for string octet [4vn,vla,vc,2cb]

Overture for Strings was commissioned by Hutchins East, an ensemble that plays on a family of strings called the Hutchins Consort (read more here) which are based on the design of the violin. The instruments range from the bass violin to the piccolo violin. This piece continues to explore issues of microtonality. The strings in this ensemble are capable of playing quite loud, so I wanted to use this property to bring out the beating and "strained" sounds which are achieved when similar instruments play microtonal chords. The color-melodies are largely inspired by the music of late Canadian composer Claude Vivier, which was himself inspired by Gamelan music.

LISTEN here - Hutchins East, live at the Tank NYC (2012)

View SCORE SAMPLE - original version - arrangement

PDF SCORE & PARTS - $20
PRINTED SCORE & PARTS for $40 (+$5 shipping for domestic USPS)
ADDITIONAL PRINTED SCORE(S) for $15 (after purchase of option 2)(free shipping)

- SELECT FORMAT -
- SELECT VERSION -
 




ORCHESTRAL/BAND



Escape for orchestra (2016) 11'
[2232/4331/timp,2perc/str]

While writing this piece, I had the sound of my son's toy emergency vehicles in my mind. His latest fascination with firetrucks, ambulances and videos of tornadoes, hurricanes, volcanoes, tsumanis, floods and other natural disasters was also constantly present. I found it almost impossible to write anything other than a reflection of this environment. Sirens, horns, beeping sounds, wind, rain and chaos fed my musical ideas as I wrote. It only seemed natural to make a piece of music about an impending disaster, or at least some kind of panic inducing threat. In my mind I hear a commotion of people trying to evacuate a disaster zone, with sirens, alarms, traffic and sounds of chaos. Then there is calm before the event while the last few people either flee or hunker down. The event happens and it is glorious: overwhelming in its magnitude, I can only imagine a sense of awe from those in the distance and the heroic dispositon of those willing to stay behind. Escape was written for Maestro Andrew Kurtz and the Gulf Coast Symphony in 2016 on commission and will be premiered December 3rd of 2016.

Liberation for orchestra (2008) 6'30
[2222/4231/timp/str]

Liberation was written for the Ann Arbor Symphony at the request of its conductor Arie Lipsky. This piece is a musical interpretation of M.C. Escher's lithograph Liberation, in which geometric shapes morph into birds. In my musical version, pulsating chords morph into bird song. For more on Escher, visit www.mcescher.com. For a link to the Liberation lithograph click here.

LISTEN here - Ann Arbor Symphony (2008)

View FULL PERUSAL SCORE

Email contact@jeffmyersmusic.com for a rental quote


Organum-Tambura for large wind ensemble (2007) 23'
[3picc,3fl,2ob,eng,clts:Eb,3Bb,bass,cbcl;2bsn,cbsn;4sax:SATB/6hn,4tpt(+2picc),3trb,btrb;tba/timp;4perc(+el.drone)]
OTHER VERSIONS:
The score is also made available without the last movement, for programming options.

Organum-Tambura was written for the University of Michigan Symphonic Band. This piece is all about blurring the distictions between color, harmony and melody. Both organum (the practice of singing a parallel melody an interval above or below another given melody) and the tambura (Indian drone instrument) are evoked in this piece because these musical topics resonate with the idea that harmony, color and melody are on a continuum. The use of propulsive rhythms and overtone chords was in some ways influenced by many listenings of Georg Friedrich Haas's orchestra work natures mortes.

LISTEN below (click on titles)

Organum-Tambura - Rodney Dorsey, University of Michigan Symphonic Band (2009)
I. Organum - [5'29"]
II. Tambura (attacca) [6'37"]
III. "Mixture" [10']

View FULL PERUSAL SCORE

Email contact@jeffmyersmusic.com for a rental quote


after Escher for orchestra (2006) 8'
[2(+picc)222(+cbsn)/322/5timp,perc,hp/str]

after Escher for orchestra was written for Festival Acanthes and premiered by Jacques Mercier with the Orchestre National de Lorraine in 2006. The music is made of melodies and textures which, in different ways, do something illusive in the spirit of M.C.Escher. There are melodies which interlock in grid-like fashion, melodies which become stretched, chord progressions which keep ascending without getting higher, and colors which fade in and out. Some of these gradual changes span a few bars and other span the whole piece (such as the gradual introduction of more and more dissonance).

LISTEN here - J. Mercier, L'Orchestre National de Lorraine (2006)

View FULL PERUSAL SCORE (revised v. 2009)

Email contact@jeffmyersmusic.com for a rental quote



Regeneration for orchestra (2003) 9'
[3(+picc)333/4331/timp,3perc/str]

Regeneration is a four movement orchestral work which contrasts stark action with meditative, sensuous tableaux. The last movement quotes fragments of the first three movements; these fragments regenerate and then transform into the violent music from the beginning of the last movement. Regeneration was commissioned by the New York Youth Symphony and premiered under Paul Haas at Carnegie Hall in May of 2004. Read the full program notes here.

LISTEN below (click on titles)

Regeneration - Paul Haas, New York Youth Symphony live at Carnegie Hall (2004)
I. Violent!
II. Calm
III. Ecstatic!
IV. Violent!-Calm-Ecstatic!-Regeneration (attacca)

View FULL PERUSAL SCORE

Email contact@jeffmyersmusic.com for a rental quote


Metamorphosis for solo violin and orchestra (2001) 20'
[2(+picc/alt),2(+eng),2(+Eb,bass),2(+cbsn),alto sax/4231/timp,4perc,kbd(cel/hpsd),pno,hp/str]
OTHER VERSIONS:
arr. for violin and piano (2001-6) 20'
arr. for violin, string orchestra and piano (2001-8) 20' [Wordless Music Orchestra v.]

Metamorphosis is a dramatic violin concerto which juxtaposes and recombines three contrasting sound-worlds which synthesize and transform themselves throughout the musical narrative. Metamorphosis was premiered by violinist Yuki Numata under conductor David Gilbert with the Eastman Philharmonia at Eastman Theatre in May of 2002. The reduction for violin and piano was premiered at Symphony Space in 2007 by Yuki Numata and Ming-Hsiu Yen. The version for violin, string orchestra and piano was premiered at Le Poisson Rouge by the Wordless Music Orchestra under Ryan McAdams in 2008, again with Ms. Numata as the soloist. Metamorphosis has garnered awards from BMI, The Eastman School, Society of Composers, and the American Academy of Arts and Letters.

LISTEN here - David Gilbert, Eastman Philharmonia (2002)

View FULL PERUSAL SCORES below

View the original version
View the version for violin, string orchestra and piano
Email contact@jeffmyersmusic.com for a rental quote


Sechs Kleine Klavierstücke, Op.19 arr. [Schoenberg/Myers] for orchestra (1998) 5'30"
[3(+picc)222/3231/4timp,3perc,cel,hp/str]

This orchestration of Arnold Schoenberg's Sechs Kleine Klavierstucke (Six Little Piano Pieces) was made for the San José State University Symphony. They performed it under Jun Nakabayashi on May of 1999.

LISTEN below (click on titles)

Sechs Kleine Klavierstucke - Jun Nakabayashi, San José State University Symphony (1999)
I. Leicht, zart
II. Langsam
III. Sehr langsam
IV. Rasch, aber leicht
V. Etwas rasch
VI. Sehr langsam
Order the SCORE & PARTS from Belmont Music Publishers

Email contact@jeffmyersmusic.com for score samples





OPERA/VOCAL



Buried Alive an opera in one act (2014) 40' [Quincy Long, libretto]
voices: [sop,M-S,sop,T,bari,bass] / orchestra: [1(+picc)11(+Eb,Bcl)1(+Cbsn)/211(BTrb)/timp,perc,kbd/str 11221]

Jennifer Feinstein and Christopher Burchett at the Fargo-Moorhead 2014 premiere

Buried Alive was comissioned by American Lyric Theater for Edgar Allan Poe's Bicentennial in 2009. Fargo-Moorhead Opera premiered it on a double-bill with Soluri/Brevoort's Embedded as part of the "Poe Project" by ALT. Quincy Long, my librettist, was also a classmate in ALT's Composer-Librettist Development Program in 2007. Here is a synopsis of the opera. Cast: Christopher Burchett as Victor, Sara Gartland as Elena, Jennifer Feinstein as Death/Doctor/Mortician, Jonathan Blalock as Nurse/Assistant, Caroline Worra as Nurse/Assistant, and Nathan Stark as the Gravedigger. Music director - Kostis Protopapis; Direction - Lawrence Edelson; Video design - Katy S Tucker; Stage design - Zane Pihlstrom.

WATCH the premiere: Fargo-Moorhead Opera, 2014

Email contact@jeffmyersmusic.com to license this opera or to obtain more perusal materials



Maren of Vardø: Satan's bride (2008-2015) 90' (full length) [Royce Vavrek, libretto]
voices: [4sop(+1),bari,bass] / orchestra: [fl,cl,bn,hn,pno(or kbd),perc,2vn,vla,vc,cb]
Genesis of the opera:

After scouring Wikipedia for interesting ideas, Royce found an interesting subject which appealed to both of us: 17th Century Norwegian witch trials. Hungry for a second project, we endeavored to write an entire full length opera on speculation ("spec") in 2009. He came to me with a libretto in short order, and I began to flesh out the music, scene by scene, aria by aria, duet by duet. After several concerts by The Coterie (co-founded by Royce and Lauren Worsham), Beth Morrison Projects, VOX (the now defunct New York City Opera's showcase), American Lyric Theater, an extensive workshop by the Yale Institute for Music Theater, and workshops with Vulcan Lyric (formerly Center City Opera) the opera was finally completed in 2015 for Vulcan Lyric's new festival. Our opera takes place in Norway, but is sung in English. The characters and events are loosely based on original accounts (both fantastic and real). The premiere production included Paul Corujo as Satan, Garrett Obrycki as the Priest and Katherine Bell as Maren. The three witches were played by Brenna Markey/Marecelle McGuirck (Karen), Robin Muse (Gunnhild), and Emily Snyder (Bodil). Sandra Hartman directed, Elizabeth Phillips did the video design, and the conductor was Andrew Kurtz, who also heads Vulcan Lyric.

READ THE SYNOPSIS HERE

Vulcan Lyric World Premiere Production July 30 - August 15 2015

Email contact@jeffmyersmusic.com to license this opera or to obtain more perusal materials





The Hunger Art a tragicomic opera in one act (2008) 22' [Royce Vavrek, libretto]

The Hunger Art was developed and written as part of the American Lyric Theater's Composer/Librettist Development Program under the guidance of director Lawrence Edelson and composer/librettist Mark Adamo. The Biblical story of Adam and Eve was used as a given abstract template for the narrative of the opera. The librettist then took this template and fused it with material from Franz Kafka's "A Fasting Artist." Further changes were made for dramatic and musical purposes (i.e. the addition of the chorus of butchers.) The opera was workshopped at Symphony Space on January 7, 2008 with the following cast:

ALFONS - Thomas Wazelle; IVONA - Amanda Pabyan; BRONISLAV - Bryce Smith; JAN - Edwin Vega; MILOS - David Korn; Piano - Keith Chambers

Scene I, Alfon's aria
Scene III, pt.1
Scene III, pt.2
Scene III, pt.3
Scene III, finale

View SCORE SAMPLE

Read the full SYNOPSIS

Below is a video excerpt from SF Cabaret Opera's 2010 production.
Justin Marsh sings the role of Alfons, accompanied by Hadley McCarroll on piano.
Meghan Dibble directs and performs the role of Jan along with Eliza O'Malley (Ivona), Joshua Beld (Bronislav) and Sophia Santulli (Milos).



Email contact@jeffmyersmusic.com to license this opera or to obtain more perusal materials






Islands of Death for mezzo-soprano and violin (2016) 23'

Islands of Death was written for my dear friends Duo Cortona (Rachel Calloway and Ari Streisfeld). They premiered the song cycle in Cortona, Italy in the summer of 2016 at the Cortona Sessions for New Music.

This set of songs is a further exploration of my fascination with themes of death and the unique, closed-off worlds that are islands. Each musical island has its own feeling, its own sound and its own style. Each island has its own language. In this set, I took islands which had some kind of death incident, death story or potential for death. The first two songs in Spanish and Portuguese, form a two-song set which treats death as a curious event, something scary and mysterious, based on real life events and places. In the first song, a man lived on a small river island in Mexico, hanging dolls (that he found in the river) from trees as an homage to a girl that had drowned in the same river (or so he said). The second song deals with death by venom, on an island covered by snakes—scary, but not unethical, simply a natural phenomenon one should avoid.

  

The second two-song set takes death into the social realm: disease outbreaks and defensive warfare. While these are difficult situations which have a potential for massive body count, they are inevitable and not considered unethical deaths. In fact, the heroism of death in the face of disease and the protection of your home are very useful constructs for those that must deal with grief. Both songs are very different in style, but serve to act as a musical contrast—rhythmic and fast, these songs portray the excitement and anxiety of death.

  

The final two-song set takes a somewhat different approach, dealing with mass death as the result of evil and systematic cruelty. The subject matter: mass extermination, cannibalism and starvation is almost too extreme to portray with music. I decided to let the text and the listener's imagination paint an image in contrast to the banal music in Nazino Island. I kept thinking of the phrase by Hannah Ahrendt: "The banality of evil." In these cases of mass extermination, the human is treated in a cold way, much like cattle or pigs. I think this is the only way that people can be so cruel—they become detached and lose their empathy for other humans through conceptual tricks of the mind: reclassification of certain people as "animals," the compartmentalization of duties and roles, the adherence to the leader, and the desire for social conformity.

The same aspect of dehumanization is explored in last song, Shark Island. At the turn of the century German empire attempted to destroy two tribes of Africans, the Herero and the Nama of what is now called Namibia. With orders from commander von Trotha to annhiliate the tribes, German solders rounded them up into concentration camps on Shark Island where they were debased, starved and worked to death. Thinking about this atrocity, I wondered for several weeks, how to approach this matter. I collected several found texts from the events, from Germans, Africans, observers and reporters. I asked--what could make the Germans act so cruel while at the same time, acting very humane to their own people? And how did they turn what would normally be a typical act of genocide (warfare, murders, etc.) into a calculated and efficient enterprise. German corporations such as Deutsche Bank profited from this, German colonists gladly took part, and to this day there is strong sense of apartheid in Namibia, which has German settlers, to this day, celebrating their victory over the native population. Skulls were shipped from Namibia to labs in Germany to examine them for Eugenics studies. Postcards with emaciated prisoners were sent home with guards posing next to them. I think what is particularly appaling is the cold and scientific justification (along with the nationalistic and tribalistic bias of the Germans) for the absolutely cruel and unempathetic behavior, totally condoned by the settlers. To order all men, women and children to be killed, starved and robbed in their own native land because they are African, and then to justify this using pseudo-science and social control, is the height of arrogrance, and an embarrassment to a civilized society.

  

All of the island texts are based on real events. I wrote lyrics for songs I, II and V. The middle set has texts from a letter by Mary Mallon aka Typhoid Mary—a diatribe she intended to send to a journalist, which she eventually sent to her lawyer. While she was only a carrier for typhoid, she was responsible for getting many other sick with the then fatal disease. Forced to live the rest of her life on a small island next to New York, she was given a death sentence for being infectious. Abbo Cernuus, a Parisian monk from the 9th Century, documented the Viking siege of Paris (which was only a small island fortress on the Seine) with great detail in poetic Latin. I took textual fragments from each source to piece together my own lyrics for the purpose of concision. I wrote the lyrics to Nazino Island, basing my lyrics on a story told by a survivor. The texts from Shark Island were all found texts: a German lullaby, texts from a Eugenics study, and an account from an English contractor in Nambia.

Email me for a perusal score at contact@jeffmyersmusic.com


He mele no Kane for soprano and piano (2014) 7'

From "Unwritten Literature of Hawaii," by Nathaniel B. Emerson [1909]:

If one were asked what, to the English-speaking mind, constitutes the most representative romantico-mystical aspiration that has been embodied in song and story, doubtless he would be compelled to answer the legend and myth of the Holy Grail. To the Hawaiian mind the aspiration and conception that most nearly approximates to this is that embodied in the words placed at the head of this chapter, The Water of Kane. One finds suggestions and hints of this conception in many passages of Hawaiian song and story, sometimes a phosphorescent flash, answering to the dip of the poet's blade, sometimes crystallized into a set form; but nowhere else than in the following mele have I found this jewel deliberately wrought into shape, faceted, and fixed in a distinct form of speech.This mele comes from Kauai, the island which more than any other of the Hawaiian group retains a tight hold on the mystical and imaginative features that mark the island also which less than any other of the group was dazzled by the glamour of royalty and enslaved by the theory of the divine birth of kings.

This song was written for soprano Rachel Schutz and her husband, pianist and teacher Jon Korth. I met them while I was teaching at the University of Hawaii. I plan to write more of these songs for them in the future as part of my Book of Islands series.
The Hula Pa-ipu for soprano and cello (2015) 4'


This setting of the Hawaiian chant The Hula Pa-ipu was written for soprano Lucy Deghrae of One Quiet Plunge. This song is part of my Book of Islands--a series of pieces informed by islands, using texts about islands, set in island languages, or referencing islands. Having lived in Hawaii, I tend to gravitiate toward Hawaiian texts like these. The text is explained in Nathaniel Emerson's Unwritten Literature of Hawaii:

The scene of this mele is laid on one of the little bird-islands that lie to the northwest of Kauai. The iwa bird, flying heavily to his nesting place in the wiry grass (kala-pahee), symbolizes the flight of a man in his deep-laden pirogue, abducting the woman of his love. The screaming sea-birds that warn him off the island, represented as watch-guards of the shark-god Kuhai-moana (whose reef is still pointed out), figure the outcries of the parents and friends of the abducted woman. After the first passionate outburst (Puni’a iluna o ka Halau-a ola) things go more smoothly (ola * * *). The flight to covert from the storm, the cove at the base of Lehua, the shady groves, the scarlet pompons of the lehua--the tree and the island have the same name--all these things are to be interpreted figuratively as emblems of woman's physical charms and the delights of love-dalliance.

I chose to reference Hawaiian music in various ways. The ipu is a gourd that is used to accompany chants like these. Usually it is played like a drum, having a low tone and a high tone. The cello imitates this by drumming on the strings. Another famous Hawaiian instrument, the ukelele, is referenced in the frequent 4-string strumming. The excitement of the storm is represented by string tremolos. The metaphorical subjects of the poem (birds) are referenced in the vocal line's birdsong-like warbling pitch alternations. These chants are often very robust in performance and include heavy vibrato at times, a declamatory presentation, and a rough blend of tonal and atonal (or gestural) pitch expressions. All of these elements factor into the music in different ways. This duo was written for One Quiet Plunge for thier Hudson Valley series, in New York.

LISTEN to an excerpt - One Quiet Plunge live at Bard College (Lucy Dhegrae & Nicholas Finch)

Email me for a perusal score at contact@jeffmyersmusic.com


He mele no Kane for soprano and piano (2014) 7'

From "Unwritten Literature of Hawaii," by Nathaniel B. Emerson [1909]:

If one were asked what, to the English-speaking mind, constitutes the most representative romantico-mystical aspiration that has been embodied in song and story, doubtless he would be compelled to answer the legend and myth of the Holy Grail. To the Hawaiian mind the aspiration and conception that most nearly approximates to this is that embodied in the words placed at the head of this chapter, The Water of Kane. One finds suggestions and hints of this conception in many passages of Hawaiian song and story, sometimes a phosphorescent flash, answering to the dip of the poet's blade, sometimes crystallized into a set form; but nowhere else than in the following mele have I found this jewel deliberately wrought into shape, faceted, and fixed in a distinct form of speech.This mele comes from Kauai, the island which more than any other of the Hawaiian group retains a tight hold on the mystical and imaginative features that mark the island also which less than any other of the group was dazzled by the glamour of royalty and enslaved by the theory of the divine birth of kings.

This song was written for soprano Rachel Schutz and her husband, pianist and teacher Jon Korth. I met them while I was teaching at the University of Hawaii. I plan to write more of these songs for them in the future as part of my Book of Islands series.

LISTEN to an excerpt - Rachel Schutz and Jonathan Korth (premiere)

Email me for a perusal score at contact@jeffmyersmusic.com


E---- for bass cl., baritone, trumpet, trombone & electronic drones (2014) 10'

Ever since my one-year stay in Hawaii, I have been very interested in islands as musical ideas. Islands have distinct characters, liquid boundaries, unusual evolutionary developments, an exotic appeal and in some cases, they can appear or disappear in a short time. Music is somewhat similar. Each piece is its own island, with its own culture and boundaries framing the experience like water. I have written a few island pieces so far, such as The Angry Birds of Kauai and He mele no Kane. Those pieces focus on Hawaiian experiences and folklore.

E---- is entirely different. With lyrics by Royce Vavrek (my librettist on two occasions), E---- takes the abstract notion of the island as an individual and creates a personal narrative from that point of departure. E----, the eponymous love interest is yearned for in the way that a distant homeland is imagined from a remote island. "I am an island in a lake in an island" sings the marooned baritone. He is stranded in a Dante-esque hell behind several moats. The island is both a haven and a trap. Floating in a musical sea of drones and floating harmonies, one can only search in the distance for someone who is long gone.

The melancholic attitude of the text reminded me of the tone of Morrissey, the rock singer known for singing sad and disgruntled ballads (i.e. "How soon is now?"). I didn't want to recreate Morrissey, but I think I came pretty close with the vocal writing and overall tone. E---- was written for loadbang in the summer of 2014.

LISTEN to an excerpt - loadbang live at National Opera Center, NYC

Email me for a perusal score at contact@jeffmyersmusic.com


Requiem Aeternam for soprano and string quartet (2014) 50'

After the sudden death of a close family member, I decided to embark on a project that could help me express and articulate my response to death and the grieving process. As a composer, I wanted to use my creative capacity to create a memorial. The Requiem has long served as the classical composer's medium of choice for large-scale funeral works. In the past, works would use the traditional texts form the Catholic Mass. As a person without any religious affiliation, I wanted to create something that explored death from multiple perspectives (different cultures, languages, eras). This relativistic approach to death expresses my cultural agnosticism: since I do not wholly embrace any of the traditional death narratives, I wanted the audience to experience multiple perspectives and draw their own conclusions.

I chose poems from Oscar Wilde, Frida Schanz, Petrarch, Rumi, and Henri Michaux, as well as phrases from the Catholic Mass, and a Filipino lullaby. The texts range in subject: the end of days, a funereal morning, the grieving process/speaking to the departed, sleep as death/the death of a child, the ecstasy of entering heaven, profound sadness, and cries of despair. My musical style changes from song to song, but there is a close relationship to choral church music from the Renaissance and Medieval eras. The use of microtones and other unusual harmonic techniques appear throughout, depicting the spectre and mystery of death.

With such a personal project, I wanted to work closely with friends: Rachel Calloway and the JACK Quartet. I wanted an intimate concert with artists that could sing and play my music with the sensitivity that it requires. I also wanted new music specialists that could interpret my music with musicality and knowledge of special techniques such as just intonation tuning.

LISTEN to the full work on YouTube or WATCH the full concert on the Trinity Church website

Rachel Calloway - mezzo soprano
JACK Quartet
View the TEXTS here

For SCORE SAMPLES email me at contact@jeffmyersmusic.com


Rachel Calloway and the JACK Quartet at the Trinity Church premiere

The Age of Assassins for tenor, horn and piano (2008) 18'

The Age of Assassins was written for hornist Laura Klock and commissioned in part by the International Horn Society's Meir Rimon Fund. Each of the five songs is set to a poem by Arthur Rimbaud: I. Chanson de la plus haute tour, II. Veillées (III), III. L'Éternité, IV. Matineé d'Ivresse, V. Sensation-Mémoire. The title of the piece comes from Matineé d'Ivresse and refers to the Arabic hashshashin. The second song makes use of natural horn overtones to convey a sense of imbalance and drunkeness.

BUY THE RECORDING ON AMAZON!


LISTEN to excerpts below (click on titles)

The Age of Assassins
I. Chanson de la plus haute tour
II. Veillées
III. L'Éternité
IV. Matineé d'Ivresse
V. Sensation-Mémoire
View SCORE SAMPLE

PDF SCORE & HORN PART for $20
2 PRINTED SCORES & HORN PART for $40 (+$5 shipping for domestic USPS)
PRINTED SCORE ONLY for $20 (+$5 shipping for domestic USPS)
ADDITIONAL SCORE(S) for $15 (after purchase of option 2)(free shipping)

- SELECT FORMAT -
 


Rosamounde for treble voice and viola (2008) 6'

Rosamounde was written for violist Kirsten Swanson and soprano Heather Davis. The text comes from the poem "Rosamounde" by the medieval author of the Canterbury Tales, Geoffrey Chaucer. The work is sung using the original Middle English text. Click here to read the full poem.

LISTEN below (click on titles)

Rosamounde - H. Davis; K. Swanson - live at The Lily Pad, Cambridge, Mass. (2008)
I. First Movement
II. Second Movement
View SCORE SAMPLE

PDF SCORE for $15
PRINTED SCORE for $20 (+$5 shipping for domestic USPS)
ADDITIONAL PRINTED SCORE(S) for $10 (after purchase of option 2)(free shipping)

- SELECT FORMAT -
 

Baudelaire Songs for soprano and piano with assistant (2005) 17'

OTHER VERSIONS:
The songs are each available separately

Baudelaire's "Les Fleurs du Mal," was written from 1845-57 in Paris. The over 150 poems cover a range of topics including beauty, death, love, evil, animals, landscapes, Greek myth, sexuality and many more unusual poetic topics such as prostitutes, vampires, fountains of blood and other macabre scenes. Due to much of Baudelaire's bawdy and grotesque language, many French readers were offended. The poem À celle qui est trop gaie, was banned by court order due to its use of blatant sadism. In my settings of À celle, Obsession, and La Beauté, I attempted to capture the rich emotionalism and sensuous expressivity that I found in Baudelaire's texts. The last song uses piano harmonics inside the piano to expand the palette of the piano.

LISTEN to La Beauté below

Baudelaire Songs
I. À celle qui est trop gaie
II. Obsession
III. La Beauté - Rachel Schutz, sopr.; Jonathan Korth, pno; Grant Carvalho, asst.

View SCORE SAMPLE

FULL PDF SCORE for $20
FULL PRINTED SCORE for $35 (+$5 shipping for domestic USPS)
ADDITIONAL PRINTED SCORE(S) for $30 (after purchase of option 2)(free shipping)

- SELECT FORMAT -
 

*

PDF SCORE OF A SINGLE SONG for $10
PRINTED SCORE OF A SINGLE SONG for $15 (+$5 shipping for domestic USPS)
ADDITIONAL PRINTED SONG(S) for $10 (after purchase of option 2)(free shipping)

- SELECT FORMAT -
 


Zamrażane Słowa for SATB chorus and piano (2002) 6'

Zamrażane Słowa (Frozen Words) was written at the Tanglewood Music Center as part of a choral project. The text comes from anonymous polish fragments which I reassembled to create a theme of love in the face of the unknown. The texts are set so that they are stretched out over such a long period of time that the timbre of the words becomes musically significant. The music is expansive, having solos in each vocal section, divisi into three parts per section, and a bass part that reaches down to low C. Zamrażane Słowa was premiered at the Tanglewood Music Center in July of 2002 by the Tanglewood Festival Chorus (chamber singers) with Michael Djupstrom conducting.

LISTEN to an excerpt - Tanglewood Festival Chorus (2002)

View SCORE SAMPLE

PDF SCORE for $15
1st/SINGLE PRINTED SCORE for $20 (+$5 shipping for domestic USPS)
ADDITIONAL PRINTED SCORE(S) for $8 (after purchase of option 2)(free shipping)

Email contact@jeffmyersmusic.com for special bulk rates (over 25 copies)

- SELECT FORMAT -
 





ELECTRONIC/NEW MEDIA



Buzz a sound installation for amplified electric machines (2005) 5+ days

Buzz is a sound installation which presents the common ambience of buzzing appliances as a concert/art event. Various "instruments" such as refrigerators, dehumidifiers, and electric typewriters are plugged in and run with amplification for about six hours a day. They sit spotlighted on a stage and are presented before the audience (anyone who happens to drop by) who may sit in the dark on chairs or benches and read the program while sucking on a Halls® (to prevent noisy coughing).

Visit the Buzz page for program notes, photos and sounds...

Email contact@jeffmyersmusic.com for an installation guide

Gestations for electronic playback (2001) 4'13"

Gestations abstracts the essence of speech and creates a colorful, textured narrative. It begins with an electronically stretched-out scream, followed by a layering of spoken dialogue (using readings from a computer program manual), and ends with a static harmony that fluctuates with the quality of human speech. Gestations was written in 2001 using the programs Cecilia and Ceres3.

LISTEN here [FREE DOWNLOAD]


Five Parametric Etudes for Disklavier (1996-8)

The Five Parametric Etudes were written and conceived for the Disklavier, a computer-driven player-piano. Each etude takes advantage of the possibilities inherent in a piano which has the ability to play music which would be impossible for human pianists to master. Disklavier music can be loaded onto a floppy disk and played back live to hear; click on the link below to download the files. The Five Parametric Etudes has been played several times and was premiered in its entirety at the Walker Art Center as part of the Sonic Circuits VI Festival in November of 1998.

LISTEN below (click on titles)
Five Parametric Etudes for Disklavier (studio recording)
I. Assigned Register (excerpt)
II. Developing Fifths (excerpt)
III. Linear and Vertical Polyrhythms (excerpt)
IV. Variations on a Theme by Rachmaninoff (excerpt)
V. Octaves in Motor Rhythm (excerpt)
BUY THE RECORDING ON AMAZON!

View FULL SCORE - [FREE DOWNLOAD]

Download the DISKLAVIER FILES to play live on a Disklavier: (right-click and SAVE AS)

I. Assigned Register
II. Developing Fifths
III. Linear and Vertical Polyrhythms
IV. Variations on a Theme by Rachmaninoff
V. Octaves in Motor Rhythm