Upcoming projects
new collaborative project with Luke Nickel
new work - for the Harmonic Space Cosmic Winds (quartertone alto flute, bass clarinet, contrabass clarinet, 2 trombones)
keep it close to the floor - for mixed percussion quartet and custom instruments. Commissioned by and developed with Bascaille (Rimouski, QC)
BATTERY - double LP/live performance works, massed marching percussion [2023-25]
new record with Zeynep Toraman
sung together – for soprano and double bass. Commissioned by Departure Duo (Nina Guo/Eddie Kass)
Complete works list
MT 6000.4 .W12 1967 [2024] - fictional piece for radio broadcast. made for Sweet Wreath (birmingham, AL). 12’.
the SCV [2024] - for two performers with crash cymbals. made with Jen Torrence.
when the great fires were lit on the other side of the ocean [2023-24] - new work commissioned by/for TAK Ensemble, comprised of a performance piece, musicological lecture, published folio, recording project. 90’.
broadsides [2023] - instruments, music, and memories of the south. 45’.
I went to the dance [2022-23] - for fiddles, accordions, many triangles, and 12-string guitar (Jules Reidy). 20’.
Sonata pian e forte [2023] - for ten brass, commissioned by & written for Apparat. 33’.
for LaMonte Young (Woodruff) [2023] - for synthesizers & a field recording of an electrical generator at my old high school. 20’.
It lays in heaven the topmost stone [2023] - pump organ, fictional Sacred Harp hymnody, electronics. 18’. written for Lampo.
tone studies 1-4 [2022] - four solo pieces for various deconstructions of the trombone. 30’.
The Congregation [2021-22] - solo fiddle “concertante” with computer controlled wooden organ pipes. made in collaboration with Cleek Schrey. 40’.
the rocks are different here [2022] - obtuse algorithmic music for electromechanical banjo. 23’.
brothers [2022] - two justly-tuned banjos with electromagnetic resonators and a symbiotic feedback/ring modulator circuit. 21’.
a vine that grew over the city and no one noticed [2020-22] - performance/recording work about musical cultures of lower Appalachia; for two electro-mechanically controlled banjos, vintage AM radios, railroad spikes, various household items, music of the rural south. 43’.
ceòl meadhonach [2021] - two flutes (C + C/bass). For myself and Laura Cocks. 30’.
witched windows [2020-21] - site specific conceptual work engaging with cultural and geological histories of Vermont. Fourteen tape loops of collaged materials derived from local sites and buried between 2-8 months at original locations. Variable duration.
Charon guiding the weary ‘cross the Long River (or, how to care for a dying instrument) [2020-21] - Four computer-controlled electric reed organs, rural field recordings, household lamps, telephone pickups, photodiode amplifiers, antique missionary pump organ, Vermont “Imperial Marble”, Sacred Harp tune “Windham”, cassette deck loaded with hydrophonic recordings of CT river transduced through slate roofing tiles, “VT Copper” coins (minted as currency of the sovereign Vermont Republic (1776-1791)), exposed speaker cones filled with debris found on CT river watershed. Commissioned and presented by Darmstadt Ferienkurse fur Neue Musik. 18’. Video performance made in collaboration with Jack Langdon. 18’.
Vernon, L.M. (interior resonance) [2020-21] - Antique Estey pump organ, Sacred Harp tune “Vernon” with combinatory tones transduced via organ body, field recording of Vermont Marble’s industrial gang saw (Danby, VT), track processed via custom convolution reverb software using handmade impulse responses of local barns, grain silos, train stations, discarded sheet metal, slate roof tiling, covered bridges, milk bottles, churches, beer tankers, frozen lakes, & more. Made in/from land and histories we now call Vermont. Written for SUPERPANG. 16’.
four pieces of virtual chamber music (for solo flute and ensembles) [2021] - solo flute with electronics. Commissioned by Laura Cocks. 17’.
for saxophones [2018-20] - three studies in machine listening for saxophones and electronics. Commissioned by Patrick Stadler. 30’.
includes:
lore - sopranino saxophone with fixed electronics made from samples of a saxophone physical model and pitch-tracking algorithms.
tenor madness - improvising tenor saxophone with live concatenative synthesis engine (whose corpus is drawn from the entire recorded history of the tenor saxophone).
Giant Steps - baritone saxophone with live electronics; a reading of John Coltrane’s eponymous Giant Steps harmonic cycle.
a few household transpositions [2020] – online field-recording based video work for Teodora Stepancic/Piano+. 12’.
Bonnyvale [2020] – prepared euphonium with saxophone reeds and glass plates. Made for NYC-Noise June compilation. 7’.
two panels [2020] – for plastic trombone & hundreds of samples from plastic instruments. Commissioned by line upon line percussion. 2’.
6 windshields (displacement) [2020] – for trombone (or any melody instrument) with sine waves and field recordings. 35’.
chime array [2019] – performance installation for four human bodies, digital synthesis, DMX lighting, projections, and touch capacitive wind chimes. Commissioned by Ensemble Pamplemousse & Festival Musica. 15’.
untitled [2019] – for amplified euphonium with cymbals. Written for myself. 32’.
portrait :: self-portrait (with still-life) [2018-19] – for flute, tenor saxophone, prepared piano, percussion, violin with field recordings and digital synthesis. Written for and commissioned by the Wet Ink Ensemble. 18’.
sound :: light [2019] – A/V installation made in collaboration with Michelle Lou for the American Academy in Rome. 4+ hours.
for trumpet [2018] – for trumpet. Written for myself. 5’.
bisected mass [2018] – for euphonium. Written for myself. 11’.
seven stones (parallax) [2018] – for prepared bass trumpet and snare drum. Written for myself. 10’.
bent, v.2 [2018] – for large ensemble, electronics, video. Commissioned by and written for wildUp and Christopher Rountree.
BIOMES [2018-] – developed with Katherine Young & RAGE THORMBONES, for improvising performers, electronics, multi-channel sound, light, projections. 35’. KY, concept, electronics, performance; WO, sound design, DMX programming, performance.
capacity [2018] – for solo amplified trombone. 21’. Written for myself.
for xylophone [2018] – for solo xylophone with analog and digital synthesis. 12’. Written for Adam Bedell.
wavelet raster [2018] – for string trio, piano, cymbals, and digital synthesis. 10’. Written for Sam Yulsman.
skeuomorphs [2018] – for speaking percussion trio with digital synthesis and live electronics. 10’. Commissioned by and written for line upon line percussion.
for melodicas [2017-18] – for any number of melodicas, with analog and digital synthesis. 13’. Written for Ensemble Pamplemousse.
pylon [2017] – for feedback euphonium, modular synthesizer, audio-reactive video projections. 12’. Solo performance project.
recasting [2015-17] – prepared piano [2 performers], electronics, synthesizers. 25’. Written for myself and Eric Wubbels.
Weston plays a Bb [2017] – trombonist with video, electronics, & performer. Collaborative work developed with Jenna Lyle; JL, concept, performance; WO, A/V programming, performance.
browser [2017] – sixteen players. 13’. Written for the Talea Ensemble.
cache [2017] – multi-channel sound installation. variable duration.
bent [2017] – amplified piccolo and cello, drum set, sampler, live electronics, video. 11’. For Ensemble Pamplemousse.
contour scrim filament [2016-17] – clarinets in Bb and A. 17’. Commissioned by Erin Cameron.
TROMBONE [2016] – trombone, electronic sound, video. 14’. Commissioned by Mattie Barbier.
stanchions [2016] – two five-string electric basses, objects, electronic sound. 30’. Commissioned by Michelle Lou & Scott Worthington [bass2bass].
TRANSISTOR [2016] – two performers, objects, electronic sound. 11’. Written for People Making Sounds.
casting [2015-16] – prepared piano, electronics. 16’.
// for repertoire as a performer, please get in touch! [wolencki@gmail.com]