Spate II (2019) by Nathaniel Haering - chamber ensemble and electronics - Live premiere recording 10/31/2019 UC San Diego Conrad Prebys Concert Hall Steven Schick, conductor Teresa Diaz de Cossio, bass flute Juliana Gaona Villamizar, oboe David Aguila, trumpet Berk Schneider, trombone Michael Jones, percussion Rebecca Lloyd-Jones, percussion Ilana Waniuk, violin Kathryn Schulmeister, contrabass Program Notes: While seeking to expand on the concepts and material found in the original iteration of Spate I was immersed in its erratic, panicked atmosphere. I became obsessed with the idea of frantic, futile solos lashing out violently from silence with such constant intensity and fervor that they resulted in a kind of horrified stasis, a unit of grotesque and vicious sustain, striving endlessly but going nowhere, grasping desperately at nothing in the pursuit of a distant unseen hope.

Medical text pp. 57: Age is an aggressive, virtuosic, and remarkably vulnerable piece crafted around the text found in the educational tome Cyclopædia of Practical Medicine Vol. 1 published in 1845. The chapter that this piece addresses is on the topic of age and its effects on the body through the multiple stages of life, beginning with nascent burgeoning growth and advancing to eventual unerring onset of decay. This piece manipulates the coherence of text and plays off of humanities want to comprehend speech in voices, often crafting phones and consonants that are similar to speech but contorting them beyond understanding. When juxtaposed with recognizable text and married with a plethora of timbral driven gestures and extended vocal techniques, smooth transitions between nonsense and meaningful text help to drive the piece through continuums of obfuscation and clarity.

a heavily revised edition of the piece originaley created for SPLICE summer institute in Kalamazoo Michigan. Once again performed by the original collaborator Shaun Cayabyab.

This piece is an exploration of the timbre and syntax of breath. Not the kind breath known for allowing life but the far too close and far too intimate breath that lends itself to the creation of a formally unsettling piece. Every sound heard in this piece is a manipulation of samples of my own breath and body. This adds to the semioticly encoded sense of foreboding intimacy, as although many of the sounds are aggressive and foreign, their underlying source is clear and at times very disconcerting to the general listening public. If you have ever wanted to experience me whispering in your ear, now is the chance.

Reading performed by the Western Michigan University Orchestra

Written for and performed by Grammy Award-winning Vietnamese performer and composer Van Anh Vo. Lotus Petals premiered on Feb. 4th at Western Michigan University as part of Van Anh Vo's concert tour. The opportunity to write for Vo was awarded by the selection of my proposal by a competitive panel of judges.