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My second large work with electronics, Blush adopts a more rigorous harmonic approach to the integration of pitch-centered, stable timbres with pitch-dense, chaotic noise.  I sculpted thick collages of recorded noise and mined their spectral content through sonogram analyses. Live instruments augment (like rouge to a cheekbone) latent harmonic structures inside this noise, coaxing vertical stabilities out of dense, anarchic spectra.   

Commissioned by the Oberlin Contemporary Music Ensemble, Blush was premiered on May 11, 2007 at Oberlin’s TIMARA Festival.