composition
SELECTED COMPOSITIONS
Slow Release is created by producing feedback through a cornet while slowly releasing its’ valves. During the performance no electronic manipulation takes place other than the physical releasing of the valves on the instrument. The results are continually shifting and unstable timbres and pitches for the duration of the work (in this case 9′21”). Recorded at EMPAC in Troy, NY, May 2010.
feedback 1 (cornet) 6′06” is an electronic work involving a cornet that employs a similar set up to Slow Release: a small microphone is positioned in place of the mouthpiece and a small speaker is set next to the bell. In this case, the feedback is altered not only by pressing or releasing the valves on the cornet, but also by physically moving the instrument and microphone and by filtering the frequencies via EQ and volume control. Recorded at EMPAC in Troy, NY, May 2010.
tunings 1 2′17” is for retuned violin. The first of several compositions I am working on for alternately tuned violin. Recorded at EMPAC in Troy, NY, May 2010.
bow on paper 3′44” is an older composition for violin with paper inserted between the strings. This recording was made recently in Albany, NY during a live performance at the Upstate Artists Guild.
de-clime
audio 11′47”
de-clime is for solo viola. Performed live in studio at WNUR 89.3, Chicago’s Sound Experiment on December 19, 2009, by Jonathan Chen.
My friend Aleksander Kolkowski has a very elegant work for solo Stroh violin that produces audible beating. He once explained to me that he accomplished that phenomena by using a practice mute. For some reason, it didn’t seem to work on my violin or my Stroh violin. In 2009 I was experimenting with a viola and set my mute on top of the bridge. I found that I could get an intense sound that was rough and grainy, producing audible beating as well as difference tones. The result was this work for solo viola.
Patterns of Affect
audio 13′38”
Patterns of Affect is inspired by early Minimalist works. Many of the early Minimalist works involved gradual processes of change, however, in this work nothing happens. In composing Patterns of Affect I was attempting to sustain a particular mood in two sections, but the changes in timbre and tempo may create a more ambivalent feeling. The first section performed on the banjo and eventually accompanying electronics, consists of the same pitch material as the second section performed on cello, electronics, hurdy-gurdy, & violin.
Recorded in Chicago, 2007. Jonathan Chen, banjo, electronics, violin; Jamie Kempkers, cello; Joe Mills, hurdy-gurdy.
To Be Continued (shortened version)
audio 8′20”
In To Be Continued, after playing a brief intro, I repeat the same chords on the guitar for as long as I can make them meaningful (to myself) while being accompanied by a music box. This subjectively established time frame changes with each performance. The music box, whose melody is constantly changing, employs player piano-like paper that spills onto the floor endlessly, continuing after the guitar part ends for an indeterminate amount of time. In this particular recording, both the guitar and music box parts have been shortened.
Recorded in Chicago, 2007. Jonathan Chen, guitar; Music Box
Eraser for Self, 2007
Empty Orchestra (+ Full Orchestra), 2007
I began exploring the idea for this installation/composition in 2000. At that time I was getting some advice from Nic Collins on various feedback projects. I was also looking for a job and one of the places I applied happened to have a bunch of old instrument cases in one of their storage areas. After finishing a related work Four Cases: open, closed for string quartet and feedback in 2005, I wrote a text score for Empty Orchestra (+ Full Orchestra).
three switch hitters 9′25”
Recorded in 2006. Jonathan Chen, electronics and projected video
Sonic Circuits International Festival of Electronic Music & Art, Brooklyn NY (Issue Project Room)
three switch hitters 8′30”
Shorter studio version of sound only recorded 2007 in Karlsruhe, Germany
Four Cases: open, closed, 2005
photo of pre-concert set up
photo of pre-concert set up (electronics)
podcast
video 11′29”
performed live in 2005 by Jonathan Chen, electronics; Flux Quartet, strings
There is no . . . in Comparison, 2004
preface 14′53”
Recorded in Chicago, 2003. Steve Hess, drums*; Toru Hironaka, saxophone; Ed Reardon, accordion; Jonathan Chen, electronics, ebow & stroh violin
*aside from a few nudges here and there, Steve essentially improvised his part, then I selected a portion to loop.
19 Situations for Six Improvisers: a System for Hearing, 2003
description:
The score consists solely of changes in a hearing matrix between six musicians. The musicians form duos and occupy three separate spaces, while in a fourth space, Chen alters who hears who through headphones as an engineer mixes all six through speakers. An example of one of these hearing situations: 1 hears 4, 2 hears 5, 3 hears 1, 4 hears 6, 5 hears 3, and 6 hears 2, with each number representing one of the musicians. During the forty minute performance, audience members move freely between all four spaces. Because the work is meant to be experienced live, as an exploration of 4 separate spaces, this stereo recording will only give a sense of the sounds employed during a performance from 2003: mp3
image from terry plumming cdr release
drummer 14′53”
Recorded in Chicago, 2002 (1st version 2001). Feedback through a child’s drumset using three electronically independent systems that interact with one another acoustically. This recording is available as CD quality audio through Striking Mechanism.
short cut for koto & electronics 12′09”
Recorded in Chicago, 2001. Lucy Davis, bowed koto; Jonathan Chen, feedback
reversal for 10 electric guitars and violin off stage 6′19”
semi-live recording in Chicago, 1999. wankering available on compilation cd
quartet loop 12′40”
Recorded 1997.