Hoyt-Schermerhornpiano, electronics (2010)
|Commission||Yegor Shevtsov and Red Light New Music|
|Premiere||November 2, 2010; Rockwood Music Hall, New York, NY; Yegor Shevtsov, piano|
|Technical requirements||2 High Quality Microphones|
Macintosh or Windows Computer running Max 6 Runtime Audio interface (e.g. motu 828, apogee duet, etc) Midi foot pedal or keyboard spacebar for cueing live processing Loudspeakers
Performed by Yegor Shevtsov (yegorshevtsov.com) Live at the Kennedy Center, Nov. 10, 2010
Named for the subway station in Brooklyn where I have spent many nights waiting for the train, Hoyt-Schermerhorn is a tribute to the New York night-scape. The piece explores the myriad and contradictory feelings that come to me late at night in my city of choice—nostalgia, anxiety, joy, panic. Hoyt-Schermerhorn was originally conceived as a graphic score; the pianist was allowed to choose notes at the beginning of the piece. Those sonorities were slowly replaced by my own specifications as the chorale entered midway through. By doing this, I was trying to capture a kind of automatic or intuitive texture, but after hearing the first performance, I realized that in order to realize my desire I would have to work quite intensely and diligently to create what sounded like effortless improvisation. As the piece progresses, it slowly transforms into a soft and gentle lullaby, with the shatter of fragmented electronics breaking the quiet haze. Hoyt-Schermerhorn is dedicated to Yegor Shevtsov, for whom I composed the work. It is my pleasure to work with him on a solo piece for the first time after all these years working together in Red Light New Music.