The pangrams are short piano pieces, each using every key on the keyboard once, on the model of the alphabetic kind that Augustus de Morgan introduced in Budget of Paradoxes, in 1872. The systematic exhaustion of the keyboard gets more complex as the series progresses.

[Read more →]

A clangorous sort of chorale, from 1992.

[Read more →]

In 1980, Bill Irwin and I did a show for the Baltimore International Theatre Festival; it contained many of the bits that later became The Regard of Flight. Murdoch was the name of our putative theatrical company, which also included Michael O’Connor.  He was elsewhere for this gig.

[Read more →]

It’s a piano piece; it’s rebarbative; play it!

[Read more →]

The Regard of Flight was produced at Lincoln Center in 1987.  Since the Vivian Beaumont is classed as a Broadway house, this was officially my Broadway debut, as Mel Gussow noted in the New York Times (5/10/87).  

[Read more →]

A bit of quiet three-part counterpoint.

[Read more →]

[Read more →]

I joined “Bob Berky and friends” for this romp through the sculpture garden of the Museum of Modern Art.  I wrote a waltz for the occasion; the guards yelled at us for touching the sculptures.

[Read more →]

A piano reduction of a score I wrote for a dance by Naomi Gruen, long ago.

[Read more →]

  The Courtroom never really got past the “work-in-progress” level, and Bill never revived it after its run in 1985.  What an ensemble that was!  It got mixed reviews, but The New Yorker was happy.

[Read more →]