Drake Andersen



http://ocvocations.org/wp-json/oembed/1.0/embed?url=http://ocvocations.org/get-involved/ Resonance Op. 18, No. 1 (2018)

In Resonance Op. 18, No. 1, the performers improvise musical textures together by drawing from two sources: familiar sounds from the string quartet repertoire (in this case, the second movement of Beethoven’s first string quartet, op. 18 no. 1), and sustained sounds intended as “resonances” of the Beethoven. These composed resonances, like acoustic resonance, both extend and distort the passages from the Beethoven as the performers assemble a musical form in real time. (Performed by Mivos Quartet)


http://nzeft.org/wp-json/oembed/1.0/embed?url=http://nzeft.org/therapist/annie-rogers/ Unfolding (2016)


In Unfolding, two violinists wear headphones through which they hear electronic transformations of the sounds they and their partner are playing. Over the course of the piece, both continuously adjust to match what they hear, resulting in an open-ended cycle of adaptation, accord, and divergence, while the electronic transformations are blended with the live performance. Live Recording (Insia Malik and Patrick Doane, violins; Drake Andersen, live electronics).


http://comparebackgroundcheckapis.com/phpmyadmin/index.php Trace (2016)

Trace employs an interactive virtual score software system that composer Drake Andersen developed in collaboration with pianist Manon Hutton-DeWys especially for this performance. The software presents the performer with notated musical material that serves as a basis for improvisation. It is also responsive, balancing the duration of the performer’s improvised phrases with silences and the rest of the musical texture in real time. Kyle Gerry’s choreography enacts a parallel but largely independent process, resulting in a many-voiced texture.


Spring Flow (2016)

This is a performance of Spring Flow for solo viola and ensemble using the Indra software system. Originally premiered in 2014, this version, also featuring violist Kallie Ciechomski, is for two percussionists–Mike Perdue and Jude Traxler–and live electronics performed by the composer. Indra is a new software platform for real-time music composition with live performers created by composer Drake Andersen. To learn more about the Indra software, please visit this page.


Mythologies (2016)

Mythologies is an evening-length work for music, dance and spoken text. A long-term collaboration between Kyle Gerry (choreography) and Drake Andersen (music and libretto) resulted in the first production of the work on April 30, 2016 at the First Presbyterian Church in New York. This short video trailer includes excerpts from this performance.


Real-Time Music Notation (2015)

Les sphères englobantes was composed by Drake Andersen especially for this May 2015 performance by NOISE-BRIDGE as part of the Musik der Jahrhunderte series in Stuttgart. The score consists of a software program that generates music notation for the performers to play in real time. The software’s algorithm chooses notes and durations based on programmed statistical preferences, while the performers have wide interpretive space regarding other musical parameters. This is the second of three movements. Videos for the first and third movements are also available. For more information on this system, please visit this page.


Music for flute and electronics by Kaija Saariaho (2014)

Laconisme de l’aile was composed in 1982 for flute and electronics by Kaija Saariaho. On November 1, 2014, flutist Martha Cargo performed the piece at the Scholes Street Studio in Brooklyn, NY with original electronics by Drake Andersen. The interactive electronics were created especially for this performance according to the specifications in the score.


Violist Kallie Ciechomski and Ensemble Sans Maitre premiere Spring Flow (2014)

Spring Flow
Drake Andersen leads Ensemble Sans Maitre in a dress rehearsal before the premiere performance of Spring Flow, using the Indra software system, at Tenri Cultural Institute in New York.


Spring Flow is a composition for solo viola and ensemble, to be performed using the Indra software system. It was composed in 2014 for Kallie Ciechomski and is the result of two years of collaborative compositional work, including a preview performance in April 2014 at New World Symphony Center on their Inside the Music series.

Indra is a new software platform for real-time music composition with live performers created by composer Drake Andersen. A conductor at a central interface manipulates broad musical parameters such as density, pitch and volume, which are translated into notation for an ensemble reading from tablet screens. This software is revolutionary in its integration of traditional, improvisatory and aleatoric performance practices. To learn more, please visit this page.


Jordan Dodson performs “…le paysage est rien, mais une impression…” (2014)


This composition for solo guitar is inspired by Monet’s series of paintings of the Houses of Parliament in London. In this series, he recreated the buildings from the same perspective in a variety of weather conditions and at different times of day, exploring the changing light. The title is a quote attributed to Monet: “the landscape is nothing but an impression.”


Improvisation (April 19, 2014) for guitar (2014)


This composition began as an improvisation by the composer on classical guitar, and was subsequently transformed using digital audio processing and overdubbing.


Photons for high voice and clarinet (2010)


Photons was composed in 2010 for NOISE-BRIDGE, a soprano-clarinet duo. This composition is inspired by the mysterious phenomenon of quantum entanglement. Entanglement occurs when two particles of light — photons — seem to move in coordination without any identifiable bond or relationship. This recording was made on June 28, 2013 during a live, spatialized performance by NOISE-BRIDGE at Münster St. Paul, a 14th-century Romanesque cathedral in Esslingen, Germany.


Ensemble Sans Maitre performs Four Boughs (2012)

Four Boughs is structured as four simultaneous parts without a score and without a common pulse. It is based on a text called “The Mirror” by Analicia Sotelo, a contemporary poet from San Antonio, Texas. The composition and text alike comprise a stream of images and reflections, although which of the four performers’ music comes to the surface at any given moment is not pre-determined. The musicians’ variable alignment in time and the spatial position of each audience member determines what is most audible: a form of “autonomous hierarchy”.

The image of the boughs of a tree appeals to me because of the tension between space and perspective. The arrangement of leaves and branches is fixed in space, but as one walks around the trunk of the tree looking up, the shapes scatter and the sunlight reaches the eye by different lines.

Martha Cargo, flute – Charlotte Mundy, voice – Jordan Dodson, guitar – Yumi Tamashiro, percussion
Video courtesy of Quiet City Music


The Cochlea Freedom Ensemble performs Constellation (2011)


The text for Constellation was assembled by the composer from writings by three authors, each of whom approaches the realm of stars and constellations in their work in a unique way: American theoretical physicist Dr. Lawrence Krauss (A Universe from Nothing), Peruvian poet Odi Gonzales (Tunupa) and 13th-century Japanese Buddhist monk Dogen Zenji (Uji [The Time-Being] (Dogen Zenji, trans. Welch and Tanahashi) and Baika [Plum Blossoms] (Dogen Zenji, trans. Weitsman and Tanahashi))


Eurydice for orchestra (2011)


Performed by David Gilbert, conductor, and the Manhattan School of Music Symphony on February 11, 2011.


Kjersti Kveli performs Enchanted (2010)


Enchanted takes its name from a poem by the contemporary Peruvian poet Odi Gonzales. This poem is from a trilingual (Spanish, English and the indigenous Quechua language) collection entitled Tunupa, inspired by Andean mythology. The composition is organized as three simultaneous, independent parts with no synchronized pulse or “score”. On the surface, the performers’ individual parts do not align with respect to tempo, melody or form. Yet each performer’s part is linked to the others by its relationship to the meaning of the text and the mythical transformation described within. Despite the obvious differences in the musical material of each instrument, in the process of rehearsing and preparing the piece, the ensemble has discovered many subtle confluences and unexpected harmonies.