Ipseities (2020) [in progress]
For solo piano (and dance)
Choreography by various (see below)
Duration: 3-9 minutes each
This is an ongoing quarantine collaboration with 20 choreographers so far (and counting), supported by individuals who have chosen to commission one or more of the individual works. I’ll update this as more people join, but for now here is the list of participating choreographers (and sponsors, when applicable). An asterisk next to the choreographer’s name means that the musical score has been finished; a double asterisk means that the choreographer has presented the work publicly in some form (including virtually, as in the above video):
Kyla Barkin and Aaron Selissen
Davonna Batt* (commissioned by Patti Costello)
Jenna Charko* (commissioned by Theresa Huntsman)
Alison Cook Beatty**
Ask la Cour
Cayleen Del Rosario
Da’ Von Doane*
Maggie Joy and Erin Maher
Audrey Rachelle (commissioned by Lisa Carlson)
Marlaina Riegelsberger** (commissioned by Theresa Huntsman)
Tanya Trombly** (commissioned by Lisa Carlson)
Rebecca Walden* (commissioned by Elizabeth Falk and Martin Piecuch)
Asya Zlatina** (commissioned by Leslie Curtis)
In late March 2020, early in the COVID shutdown, I reached out to choreographers with an offer to collaborate on short pieces for solo piano. The arts were of course profoundly affected by the pandemic, but dance more than most others was almost completely frozen, with dancers unable to access studios or share space with each other. I thought this could be a chance to connect and process things together, and I wanted to do something that wouldn’t cost the choreographers anything (though third-party sponsors came in later to commission a few of the works).
So each of these pieces represents a personal creative collaboration and an effort on my part to meet each choreographer where they were emotionally, stylistically, and thematically at that moment. The backgrounds of the choreographers range from people just entering the professional world (including a few of my former NYU students) to highly experienced artists with established companies, and most of them I had not worked with as composer prior to this project.
I’ve chosen to present the works here without the narrative or emotional prompts that I discussed with the choreographers so that they can be experienced purely as concert music, and also to give my collaborators the space to offer as much or as little of those elements as they choose by way of the movement they’ve presented/posted or in their own program notes. The works are numbered purely in the order that I completed full drafts of the music, which began in mid-April and went through the end of the year.