The following tracks and videos are selections from my commercial recordings, live performances, improvisations, and "Lectures." Additional tracks are available on my Soundcloud page, YouTube, and via Spotify. Of course if you're feeling crazy you can buy a CD or download some tracks. :)
Reconstructing the lost improvisations of aldo pilestri (1683 - 1727)
Guitarist Daniel Lippel is a good friend and an amazing collaborator. When I approached him about writing a sort of “mini-concerto” or at least guitar feature, he suggested NY-based chamber group counter)induction as the ideal “band” to play with him on such a piece. Commissioned by the Barlow Endowment, Pilestri is the resulting piece and was premiere by Lippel and c)i in March/April 2019 in Pennsylvania and NYC. Perusal score HERE. The audio below presents two excerpts from the piece, recorded during our dress rehearsal for the NYC premiere.
Ever Ascending (2017-18)
It was great to work with Laurent Durupt and Rémi Durupt again--co-founders of Paris-based Ensemble Links and amazing performers and people. I was able to host them for a residency at BYU that included the premiere of my new piece, Ever Ascending (2017-18) for piano, percussion, video projection, and live and pre-composed electronics, in the BYU Museum of Art on February 23, 2018. The audio recording of the performance is below. It was also nice to collaborate for the first time with visual artist David Chapman Lindsay, who created the video clips that were folded in between the movements of the musical composition. We both took our point of departure from the work of M. C. Escher, currently on display in the BYU MOA.
The pure forces' gravity (2015-16)
The Pure Forces' Gravity was commissioned by the Barlow Endowment for Music Composition at Brigham Young University for The Manhattan String Quartet. It was premiered on March 31, 2017, at Colgate University in Hamilton, NY. The following video is from the MSQ's performance at the KentMusic 2017 String Conference at Seattle Pacific University, June 24, 2017. To see a perusal score, click HERE.
Medusa in Fragments (2011)
Medusa in Fragments (2011) performance by Keith Kirchoff at the Gallagher Academy of Performing Arts in New Zealand on August 5, 2015. Commissioned by Keith Kirchoff as a part of the Electro-Acoustic Piano project. Scored for piano, video, and electronics. To see a perusal score, click HERE.
This recording of my piece Medusa in Fragments (for solo amplified piano, surround-sound electroacoustic music, and video projection) by pianist Keith Kirchoff was made in the de Jong Concert Hall at BYU and is a preliminary edit of the final version that will ultimately be released along with other piano works. The pre-recorded and processed soprano sounds are provided by Jennifer Welch-Babidge.
geometria situs (2011)
Live recording of the USA premiere of my piece Geometria Situs (2011), commissioned by Hexnut for their WRENCH project, and a track on my 2015 New Focus Recordings release Young American Inventions. Hexnut presented WRENCH at BYU in the de Jong Concert Hall on September 25, 2013. For a perusal score, click HERE.
The infamous "dump" moment from HPE, in the which Matt, Ian, and Matthew dump a bunch of stuff on David to thwart (stop!) his playing...
outskirts of infinity (2008)
Excerpt from my chamber orchestra piece Outskirts of Infinity (2008), written for and performed by the Utah Arts Festival Orchestra, conducted by Andrew Rindfleish, and recorded in Libby Gardner Hall. Inspired by (and in some ways an attempt at a recomposition of) "Voodoo Chile" by Jimi Hendrix. Perusal score HERE.
Mild violence CD preview (2008, Bridge 9256)
A preview of my May 2008 Bridge Records release Mild Violence...some great performances here by Carlton Vickers, Talujon, John Sampen, New York New Music Ensemble, Curtis Macomber, and Dominic Donato.
scores for works on mild violence:
A track from my 2012 Comprovise Records release Available Resonances--an album that features several electronic improvisations with Radio Shack electret microphones and found objects (like Dr. Pepper cans and Coke bottles).
Lecture no. 3: The Composer and The Artist. A lecture-as-performance in the BYU Madsen Recital Hall, January 24, 2017. Thanks to the following for their contributions: Luke Howard (intro); Brent Barson (animation and inspiration); Joe Ostraff (video on Memory Lane ["nostalgia"] clip) and help using Adobe Premiere; Christian Asplund (piano on the song "Color and Sound"); Daniel Charon (choreographer of dance clip at the end); various dancers from BYU's Contemporary Dance Theatre. Please enjoy!
Here’s my performance of the old classic, “Color and Sound,” accompanied by Christian Asplund on piano. Lead sheet HERE.
Lecture no. 1: The Composer. My attempt to channel Vonnegut, Lynch, Tim and Eric, and The Museum of Jurassic Technology. I hope you like it.
grenzen der kontrolle (2013)
It was great working with Links Ensemble in Paris on my Barlow-commissioned work, Grenzen der Kontrolle (2013). Here is a recording of the World Premiere, at Église Saint-Merri. A duo version for Laurent and Rémi Durupt (piano and percussion, plus electronics), is forthcoming. To see a perusal score, click HERE.
Piece for Mixed Quartet (2011)
I am obviously influenced by a number of sources when I create my music, but I mostly try to absorb those influences into what I might describe as my "style." Occasionally I write works that are meant to be derivative in a more obvious way. Such is the case with Piece for Mixed Quartet, a two-movement work for typical Baroque "trio sonata" instrumentation, and written to appear with Bach's Trio Sonata in C Major BWV 1037. The piece was commissioned and recorded by the NOVA Chamber Music Series, by artistic director Jason Hardink and his cohorts. For a perusal score, click HERE.
Sequential Exploration no. 1
While most of my live improvisation, electronic or otherwise, occurs with Christian Asplund in our RICKSPLUND duo, I occasionally do solo performances. Here's an iPhone capture of a performance at UTXtalk (Utah Crosstalk), a concert series started more than 10 years ago by Miguel Chuaqui at the U of Utah and me. The series continues to present electronic works by U of U and BYU faculty and student composers, as well as works from the broad and rich history of electronic music.