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Stem (2013, 25 min.)
large orchestra

Law of Mosaics (2012, 30 min.)
string orchestra

First World (2012, 7 min.)
large chamber orchestra

Erasure Scherzo (2012, 6 min.)
Word for Word (2011, 10 min.)
Build a Room (2010, 20 min.)
concerto for trumpet and orchestra
Patriot (2007, 9 min.)
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Sound from the Bench (2014, 40 min.)
mixed choir with 2 electric guitars and percussion
Partition (2010, 21 min.)
Cantata: Songs for the Divided (2004, 20 min.)
back to top
The Source (2014, 1 hour)
4 singers with 7 instruments+vocal processing
"The Cage" Variations(2014, 20 min.)
6 instruments with baritone solo
But I Voted for Shirley Chisholm (2012, 8 min.)
11 instruments+tape
Randos (2012, 8 min.)
7 instruments ("L"Histoire septet)
Severance Octet (2012, 15 min.)
6 percussion, violin, viola
Crispy Gentlemen (2012, 15 min.)
7 instruments (Pierrot + percussion)
Cutest Little Arbitrage (2011, 12 min.)
6 instruments (2 sax, trombone + rhythm section)
Is it Dirty (2010, 8 min.)
2 singers with chamber orchestra
Eyelid Margin (2009, 12 min.)
10 instruments (brass quintet + 5 double-reeds)
Snowball (2008, 6 min.)
8 instruments (bcl, tpt, tbn, vln, acc, egtr, pno, dr)
Illuminating the Maze (2008, 15 min.)
6 instruments (tpt, hn, tbn, egtr, pno, dr)
Make it out (2008, 5 min.)
5 instruments + singer
You Have AIDS (2008, 5 min.)
5 instruments + speakers
Katrina Ballads (2007, 1 hour)
11 instruments + 5 singers
Cordavi and Fig (2007, 8 min.)
13 instruments
Seven Small Love Songs (2004, 8 min.)
7 instruments + singer
Antiphon (2003, 8 min.)
9 instruments (3 cl, bcl, 3 tpt, tbn, pno)
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Furtive Movements (2013, 10 min.)
cello and percussion duet
Four Pieces for String Quintet (2012, 25 min.)
string quintet (2 vln, vla, vc, db)
Licorce Men (2012, 8 min.)
electric guitar quartet
Parlor Diplomacy (2011, 20 min.)
solo piano
Nobody's (2010, 4 min.)
solo violin
The One you Guard the Most (2009, 6 min.)
string quartet
Thaw (2009, 12 min.)
percussion quartet
Ghostspace (2009, 8 min.)
accordion, electric guitar, piano, drums
Vessels (2008, 10 min.)
violin, viola, piano
Crib Dweller (2007, 8 min.)
bass clarinet, trumpet, horn, trombone, elec. guitar
I Remember (2007, 8 min.)
3 sopranos
Warning Song (2006, 7 min.)
voice + multi-track cello
23 (2005, 8 min.)
flute, horn, elec. guitar, piano, drums
One of Us, One of Them (2005, 8 min.)
piano + percussion duet
Forcefield (2004, 5 min.)
viola + vibraphone duet
Once the Search (2004, 17 min.)
viola solos with soprano, percussion, piano
Brass Quintet (2001, 4 min.)
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Consent (2014, 7 min.)
Ripple (2012, 10 min.)
Room for Something (2011, 8 min.)
Away (2010, 6 min.)
Privilege (2009, 14 min.)
Mass for St. Mary’s (2008, 10 min.)
Because (2006, 6 min.)
Fortress (2005, 8 min.)
Sometimes I Feel Like a Motherless Child (2005, 7 min.)
Stratagems (2004, 8 min.)
Murder on the Road in Alabama (2003, 6 min.)
Todos Parense (2002, 5 min.)
Ubi Caritas (2000, 5 min.)
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Intimacy and Resistance (2010, 5 min.)
Charleston Songbook (2008, 20 min.)
I Remember (2007, 8 min.)
I Carry Your Heart (2007, 5 min.)
(mis)communications (2001, 15 min.)
Rise up, my love (1999, 3 min.)
Early Songs (1996-2003, 15 min.)
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"The Cage" Variations(2014, 20 min.)
Is it Dirty (2010, 8 min.)
359 Each Time (2010, 8 min.)
Last Man Standing (2008, 4 min.)
Illuminating the Maze (2008, 50 min.)
My Catalonia (2008, 7 min.)
Make it out (2008, 5 min.)
Warning Song (2006, 7 min.)
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You're Causing Quite a Disturbance (2013, 45 min.)
Erykah Badu + Brooklyn Philharmonic
Histories (2012, 40 min.)
Sleeping Giant + The Deviant Septet
R We Who R We (2011-present)
duet with Philip White
Music from 'la plage'(2010, 40 min.)
Music from 'under the house'(2009, 10 min.)
Music from 'Checkmate' (2008, 10 min.)
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The following songs are adaptable for different band combinations:
359 Each Time
All The Things
Ambitioning
Ashley Nelson (from Katrina Ballads)
Barbara Bush: 9.5.05 (from Katrina Ballads)
Body Moving
Burning TV Song
Dennis Hastert: 8.31.05 (from Katrina Ballads)
Everything You Do
I Mean Well
I Want Never
Is It Dirty
Kanye West: 9.2.05 (from Katrina Ballads)
Make it Out
My Favorite Ride
Never Said Nothing
Protection
Shame Campaign
This Time
We Didn't Know
 

 

Parlor Diplomacy (2011, 20 min.)

for solo piano
5 movements

commission:
Timothy Andres

premiere:
June 2011; Bargemusic, Brooklyn

additional performances:
Yegor Shevtsov, Auditorio de Central Social, Denia, Spain, December 2011
Timothy Andres, (le) Poisson Rouge, New York, May 2012
Timothy Andres, Wigmore Hall, London, June 2012
Timothy Andres, Carlsbad Music Festival, September 2012

listen:

1. five

2. intermezzo

3. broms

4. center left
5. ambiguation
performed by Timo Andres
recorded and engineered by Ryan Streber (Oktaven Studios)

notes:
When my good friend Timo asked me to write him a piece, I wanted to create something that would not only challenge him and show off his incredible technical ability, but also somehow honor his lifetime of performing, absorbing and living classical music. What I came up with was Parlor Diplomacy, a piece whose material is at odds with its organization.

Gestures, harmonies and rhythms from Parlor Diplomacy are extracted from the context that might have once given them a different meaning. What could have been an incidental trill is isolated and stuck under stage lights, or a series of falling figures is divorced from its historically-appropriate sequence. The result is a familiar yet unsettling landscape of fragments and echoes.

The first movement is a rhythmically-challenging and somewhat overzealous "trill-tastic" barnburner.

The second movement is a homage to Brahms' stunning Intermezzo, Op. 119 in B minor, portraying an echo of a ripple of a wave from the heart-breaking motif of a descending line; or perhaps imagining how Brahms might have heard each note falling at its own rate in its own universe, unencumbered by 19th-century rules of harmony and rhythm.

The third movement seeks to recreate the magic of an intermediate piano student (or not-particularly-good classical pianist such as myself) discovering a piece of music for the first time, very slowly, almost awkwardly, separated from many musical parameters necessary for a succesful performance yet somehow still uncovering and preserving some of music's essential beauty, for the ears of only the performer.

The fourth movement comes closest to respecting classical rules of form and development, beginning with a ground bass and later developing material in a style that owes much to a typical theme-and-variations. While dissonances in harmony and rhythm firmly place this music in a contemporary historical context, its method of presenting itself -- that is, the preservation of the grammar as well as the sounds of classical music -- makes it the most traditional of all the movements.

As Wikipedia creates a "disambiguation" page to help sort similar-sounding entries into a meaningful catalog, the final movement ambiguizes gestures by separating them from any grid or heirarchy that might help clarify their musical role. It is a pithy collection of cadences going nowhere.