David Milnes

in seven movements, played without pause
I. Introduction
II. Chant 1
III. Regrets
IV. A year
V. Chant 2
VI. Cries
VII. Coda

As the title suggests, (control) deals with differing degrees of control – exertion of control and release of control – “applied” to both performer and listener. The performers are asked to read a very specific score and simultaneously improvise with varying degrees of liberty.

En círculo (2008) for alto saxophone, clarinet/bass clarinet, horn, trumpet, trombone, double bass, percussion, and piano
duration, 18'
excerpt performed by the San Francisco Contemporary Music Players

Listening to me practice the piano in this piece, my sister said, “I hear all sorts of natural sounds, things blowing, shaking, leaves rustling, waves rolling”.

Singing the lines (2008)
for soprano, flute/piccolo, B-flat clarinet, double bass, percussion, and piano, 9’
music by Cindy Cox
text by John Campion
I. “Light changes”
II. “Walking, Naming It”

performed by Lucy Shelton, soprano
Berkeley Contemporary Chamber Players
David Milnes, conducting

Practice
For full orchestra and computer
In association with the Center for New Music and Audio Technologies (CNMAT), UC Berkeley

Selected Performance History:

American Composers Orchestra, Carnegie Hall, March 17, 2006 (premiere)
American Composers Orchestra, Annenberg Center, Philadelphia, March 18
Berkeley Symphony with Kent Nagano, June, 2006 (Full Orchestral Version)

(The text that follows is adapted from a text by Beth E. Levy. The full text can be found in the liner notes of the Edmund Campion/SFCMP Outside Music CD, Albany Records Troy 1037)

HOLD That Thought for string orchestra and computer driven electronics

2004
Hold that Thought, Gaunajuato Symphony, Mexico (premiere),
Hold that Thought, University Symphony, Berkeley

L’Autre (The Other)