Ipseities (2020-21) [in progress]

For solo piano (and dance)
Choreography by various (see below)
Duration: 3-9 minutes each

This is a large-scale quarantine collaboration with 24 choreographers (or choreographer teams), supported by individuals who have chosen to commission one or more of the individual works. The list of participating choreographers (and sponsors, when applicable) is below; 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 (with links to videos, when available):

Kyla Barkin and Aaron Selissen** (commissioned by Dawn Lille)
Davonna Batt* (commissioned by Patti Costello)
Carmen Caceres*
Ashley Carter**
Jenna Charko** (commissioned by Theresa Huntsman)
Alison Cook Beatty**
Cayleen Del Rosario*
Erin Dillon
Da’ Von Doane*
Anne Goldberg-Baldwin*
Maggie Joy and Erin Maher**
Maia Kaimakliotis
Ask la Cour* (commissioned by New York Dance Theatre)
Gabrielle Lamb
Caitlin McManus*
Annie Nikunen**
Audrey Rachelle* (commissioned by Lisa Carlson)
Marlaina Garcia Riegelsberger** (commissioned by Theresa Huntsman)
Celia Torrey*
Tanya Trombly** (commissioned by Lisa Carlson)
Nicole Truzzi*
Rebecca Walden** (commissioned by Elizabeth Falk and Martin Piecuch)
Hannah Weber
Asya Zlatina** (commissioned by Leslie Curtis)

Volume I of this collection (12 works) is available for retail purchase from Theodore Front Musical Literature.
Volume I is available for institutional purchase from Harrassowitz (OttoEditions) and Theodore Front Musical Literature.

Program note:

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 in the score purely in the order that I completed full drafts of the music, which began in mid-April 2020 and went into 2021.