Huck Hodge is a composer of “harmonically fresh work", "full of both sparkle and thunder” (New York Times). His music has been performed at Carnegie Hall, Lincoln Center and at numerous major festivals throughout the world including the New York Philharmonic Biennial, Berliner Festspiele, Gaudeamus Muziekweek, Shanghai New Music Week, ISCM World Music Days by members of Ensemble Modern and the Berlin Philharmonic, the Seattle Symphony, the Orchestra of the League of Composers, the Aleph, ASKO/Schönberg, Dal Niente, and Talea ensembles, the JACK and Mivos string quartets, and numerous other ensembles.

His major awards include the Charles Ives Living, the largest music award conferred by the American Academy of Arts and Letters, the Rome Prize, the Gaudeamus Prize, and fellowships and commissions from the Guggenheim, Barlow, Fromm, and Koussevitzky foundations, Music at the Anthology, the Siemens Musikstiftung and the Deutscher Akademischer Austauschdienst, among many others. Hodge is professor and chair of the composition program at the University of Washington.

Piece info:

refuse (v.)
refuse (n.)
fuse (v.)
fuse (n.)
re-fuse (v.)

re[(f)use]: hidden in this word are a number of conceits, each of which informs the piece in its own way. Among them, my abiding interest in uncovering beauty in nominally ugly junk and the delight I take in auditory illusions. Through slight shifts in the voicing and registration of a harmonic collection, a protean shift results: noise becomes dissonant harmony, dissonant harmonies fuse into complex timbres, timbres melt into single pitches. re[(f)use] was commissioned by Music at the Anthology for the JACK Quartet (the original version consisting of parts for melodica, string quartet, and electronics. This performance is of a revised version for solo melodica and electronics.

https://www.huckhodge.com