Pianotronica

A doppelgänger phenomenon has existed for centuries in mythology, literature, visual art, and later cinema and television. It is about the idea of a biologically unrelated but look-alike, or a double of a living person (usually considered evil version of the original). So far, I’ve never met one in my life. However, if I meet him one day, the first thing I will ask him (or them) would be: “Let’s play together?”

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The body—an unreliable disk,
where will commands, yet flesh resists.
A rhythm imposed, a tempo unyielding,
until limitation eclipses intent.

Time, decay, resistance—
a futile dance against the inevitable,
syncing, slipping, straining,
until failure is no longer an interruption.

Failure as performance—
not mistake, but meaning.
Not collapse, but completion.

No artifice—only what remains.
No embellishment—only effort.
No edit, no cut

Reference:

Stegemöller, Elizabeth L., et al. “Effect of Movement Frequency on Repetitive Finger Movements in Patients with Parkinson's Disease.” Movement Disorders, vol. 24, no. 8, 2009, pp. 1162-1169. doi:10.1002/mds.22535

This piece is named after Saturn's moon Enceladus, an icy rock that on one hand appears barren, but in fact is ravaged by its host planet's tidal forces. The piece begins in a subtly moving way and gradually shifts to extreme heights, with bouts of beautiful melody and again a final shift toward stasis. It fuses cyclical and teleological elements to create a raw, emotional, and touching character.

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"Parsons Suite" was composed for a graduation fashion show that took place at the Parsons School of Design in New York City, 2024.

I. Quarter = 120
II. Quarter = 163
III. Dotted Quarter = 56.66

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This piece initiates with a stereo canon, where the audio signal sent to each speaker is delayed by a gradually changing amount of time.

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Composed for solo piano and fixed media, His Dreams, i. Iron Horses draws inspiration from Alexey Logunov's surreal dream. The piece vividly depicts the dreamscape he documented in his journal. In short, it recounts a journey aboard a train traversing from a desert landscape to a beach. Along the way, surreal events unfold, such as the transformation of the train into a horse and a snake escaping from its enclosure at a beachside serpent museum, preparing to attack humans.

The solo piano passages in this composition frequently embody the escalating momentum and mechanical characteristics of the locomotive, using repetitive clusters spanning both the highest and lowest registers, along with persistent rhythms reminiscent of train wheels running across the tracks. The electronic elements use field recordings, including samples of trains captured in Bloomington, Indiana, and Charlottesville, Virginia, as well as synthesized sounds processed in Ableton Live.

“I was standing on a dark, deep horizon. The deep dark horizon in the dead of night, cold, quiet echo lingered there.”

I imagined an invisible horizon of tones extending far beyond the chords produced by the piano. Just as the clouds clear and reveal something beyond the horizon, the piano's reverberations disappear, and spectral tones are revealed. Through spectral analysis of the resonance of chords through the piano, the overtones of a chord can be recreated through a sine waveform or reprocessed through an input signal.

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Spectre is meant to produce an atmosphere inspired by horror. Inspired strongly by the works of Edgard Varese.

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