A collection of pieces for organ which employ silence within the music, rather than as something outside the music. The composer's intent was to have as much silence as possible in each piece without interrupting the flow of the music. The pieces may be played together or separately. With notes.
In one movement. With an introduction in English and French. Premiered in Los Angeles, March 2016. Any plucked string instruments can be used, providing each has a distinctive sound. It is encouraged to use instruments from different cultures.
Contents: I. Similarities -- II. Differences -- III. Canons -- IV. Well-Formed -- V. Mirrors. With an introduction. Two percussionists work in dialogue, while a third keeps a rhythmic clock.
…Bye and Bye I'm Going to See the King / Luther Dickinson Feat. the Rising Star Fife & Drum Band -- God Don't Never Change / Willie Johnson -- John the Revelator / Tom Waits -- Let Your Light Shine- Maria McKee / Maria McKee -- Dark Is the Night-Cold Is the Ground-Rickie Lee Jones / Rickie Lee Jones.
Includes music by James Tenney, Tom Johnson, Daniele Lombardi, Steffen Schleiermacher, Krzysztof Meyer and Marc-Andre Hamelin. Played by a Bösendorfer-Ampico Player Piano.
With performance notes. Dedicated to Tom Johnson. A piece without notated meter or tempo; pitches are provided to be played in the manner explained by the composer. The percussion instrument needs to have a long decay.
The phonola was popular at the turn of the 20th century. It was a machine that was placed in front of the piano, and it played the keys. Heisig presents his own music, as well as works by Tom Johnson, Knut Müller, and Conlon Nancarrow.
Dykstra plays music by Scott Joplin, Joseph Lamb, James Scott, Tom Turpin, Scott Hayden, Clarence Woods, Charles Johnson, and May Aufderheide.
Kallay performs microtonal piano music by Tom Flaherty, Kyle Gann, Jason Heath, Vera Ivanova, Aaron K. Johnson, Isaac Schankler, John Schneider, and Brian Shepard.
This piece for solo percussionist is one of several pieces composed by Johnson in 2002 which employ mosaics of rhythms based on ideas developed by Johnson over a period of time. With an introduction. Duration ca. 12 minutes.
Six four-part inventions for bassoon solo. In 2002, Johnson composed a variety of pieces based on the interlocking of tiles (lines, rhythms, loops). Johnson spent some time developing theories for doing this, and learned about complex mathematical ideas. Introduction. Duration ca. 10 minutes.
This work contains eight Allegro movements. With a brief program note. The music is a minimalist homage to Domenico Scarlatti. Johnson wrote the music in 1976, but then forgot about it until rediscovering it in 2013.
This work in two movements features a slow and seemingly static movement and a faster, arpeggiated movement. Both movements are canons for one instrument playing two voices under a system developed by Johnson. With an introduction. Duration ca. 8 minutes.
This movement for flute creates a mosaic of simultaneous lines performed on one instrument. Johnson created this and several similar pieces using a system he developed which led him into the world of mathematics. This piece also employs spoken word. Introduction. Duration ca. 7 minutes.
One of several pieces composed by Johnson in 2002 which use a variety of methods to fit rhythms together in such a way as to create a multi-voice canon for a single instrument. This piece combines two different ideas into one movement. With an introduction. Duration ca. 11 minutes.
The three movements of this piece are all exercises in three-voice counterpoint for one instrument. The canons are based on mathematical ideas developed by Johnson over a period of time. One of several such pieces written for a variety of instruments. Introduction. Duration ca. 10 minutes.