for live performers with reembodied sound
for computer controlled metal percussion instruments and live performers
This work consists of autonomously sounding metal percussion and string instruments driven by a realtime algorithmically generated score. The musicians create their own loose set of instructions to interact with and respond to the autonomous instruments. The activated instruments are placed throughout the performance space to incorporate site-specific acoustics, providing additional considerations for the performers and creating an immersive experience for the audience.
matthew goodheart’s Broken Ghost Consort: Georg Wissel, clarinet; Matthew Goodheart, piano; George Cremaschi, bass. Recorded live at Atrium, Prague, June 7, 2018.
for piano and computer controlled metal percussion
For piano and metal percussion is a performance work for computer-controlled metal percussion instruments and improvising pianist. While the structure of the piece is predetermined, it contains a mix of fixed moments and unpredictable, real-time algorithmic process. The piano improvisational is highly structured, with instructions on techniques, approaches, and pitch information sent via Wi-Fi onto an iPad or similar tablet device used by the performer. The performer then uses this information, which is also a combination of set instructions and algorithmically selected pitch content, to interact with the metal percussion.
Matthew Goodheart, piano. Recorded live at Roulette Intermedium, Brooklyn, NY, US (May 8, 2017)
for clarinet and computer controlled metal percussion
This work of a set of a structured improvisation score for clarinet consists and fixed score transducer drive metal percussion instruments. The activated instruments are placed throughout the performance space to incorporate site-specific acoustics, providing additional considerations for the performers and creating an immersive experience for the audience.
Alois Hába’s Quartertone Piano
This work resurrects Alois Hába’s early twentieth-century three-manual quartertone piano, with a short suite of prelude-like pieces that explore the unusual sonorities available through the combination of the tuning and unusual keyboard design. This is the first professional work written for the instrument since Hába’s death. Made possible through a Fulbright Grant.
Matthew Goodheart, quartertone piano. Recorded on the quartertone grand piano at the Czech Music Museum, January 2014.
fl/alt fl, bass cl, FH, Eb tuba, vib, 6 vln, 3 vla, 2 vc, cb
Immersive microtonal work for spatialized instrumental choirs. Members of the audience are invited to sit onstage in the midst of the instruments.
Eco Ensemble: David Milnes, conductor; Stacey Pelinka, fl; Peter Josheff, bc; Alicia Telford, FH; Francis Upton, tba; Loren Mach, vib; Antoine van Dongen, Hrabba Atladottir, Dagenais Smiley, April Paik, Dan Flanagan, David Ryther, vln; Ellen Ruth Rose, Darcy Rindt, Stephanie Ng, vla; Leighton Fong, Vanessa Ruotolo, vc; Richard Worn, cb. Recording: Herz Hall, U.C. Berkeley, December 2012
For George Cremaschi
George Cremaschi, bass. Recorded at Skolska Gallery, Prague, 2014
A micro-opera in 3 acts.
This work follows the inner/outer journey of the composer Orchid. Commissioned by the sfSoundGroup for the Small Packages concert. Dedicated to Anton Webern.
sfSoundGroup: Premiered: August 28, 2007. ODC, San Francisco, CA
microtonal quartet in 3 movements
String Quartet (Study no. 5) is a both an examination of the interconnected nature of an instrumental ensemble, and an emotional journey into the nature of hearing itself. The tuning system, which utilizes overtones from each instrument, creates a timbral palette drawn not only from the inherent properties of each the instrument, but from the relationships between them. The work’s fundamental language of layering pitches to create a hamonic/timbral fabric emerges from the nature of the ensemble itself. Additionally, the use of microtonal pitch relationships which emerge from that fabric create acoustic beatings, a phenomina which exists outside the physicality of the quartet. There is a life to the sound which reaches beyond the instruments.