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).  

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A bit of quiet three-part counterpoint.

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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.

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

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  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.

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A voluptuous little piece, with a rolling left hand.

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“H,” in German, is the name for B natural, thus allowing Bach to spell his name as B — A — C — B natural.  I expanded Bach’s musical signature for this canon.

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I’ve long been fascinated by the Latin gibberish used to fill in dummy texts. I considered setting it; then concocted this musical equivalent. I assigned a four-pitch diatonic chord to each letter, then transcribed the result.

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All of us who write music hear music in dreams.  I don’t know what to make of it.  Is it inspiration, brain garbage, cryptamnesia?  I write it down when I awake.  Here’s one of them.  

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