Please click on any thumbnail below to see a larger version of an image.
John Zorn
I have worked with John Zorn since 1999, acting as the sole music engraver of his serious compositions. Despite the dramatic changes in his music during this time, one constant has been the complexity of gesture. This inevitably results in a complexity of notation, which demands a clear and clean preparation of materials for the performer. Accuracy, of course, is paramount, and the score-reader must be presented with materials that are as aesthetically pleasing to see as they are to perform. There is no opportunity for error in preparing Mr. Zorn’s music.
I have worked with John Zorn since 1999, acting as the sole music engraver of his serious compositions. Despite the dramatic changes in his music during this time, one constant has been the complexity of gesture. This inevitably results in a complexity of notation, which demands a clear and clean preparation of materials for the performer. Accuracy, of course, is paramount, and the score-reader must be presented with materials that are as aesthetically pleasing to see as they are to perform. There is no opportunity for error in preparing Mr. Zorn’s music.
John Zorn, the aristos for piano trio, violin part (pp. 1, 2), score (p. 17)
John Zorn, oviri for nine players, pp. 5, 6 and 8
John Zorn, Pandora's box for soprano and string quartet, pp. 8, 13, 15 and 16.
John Zorn, sûppots et suppliciations for orchestra, pp. 12, 13 and 22.
Ricky Ian Gordon
In terms of opera composition, Ricky Ian Gordon is the Richard Strauss of the twenty-first century, as I have told him on several occasions. Like Strauss, Mr. Gordon composes with a remarkable fecundity and with a firm grasp on the various elements that constitute modern opera. The engravings of his scores must meet the exacting demands of modern opera, in particular, the demands of singers, conductors, producers, librarians, librettists, instrumentalists, and, of course, the composer. Clarity, visual appeal and accuracy are all crucial in this.
In terms of opera composition, Ricky Ian Gordon is the Richard Strauss of the twenty-first century, as I have told him on several occasions. Like Strauss, Mr. Gordon composes with a remarkable fecundity and with a firm grasp on the various elements that constitute modern opera. The engravings of his scores must meet the exacting demands of modern opera, in particular, the demands of singers, conductors, producers, librarians, librettists, instrumentalists, and, of course, the composer. Clarity, visual appeal and accuracy are all crucial in this.
Ricky Ian Gordon, 27 (An Opera in Five Acts), pp. 283, 302 and 368.
Ricky Ian Gordon, A Coffin in Egypt, pp. 144, 225 and 327.
Luciano Berio
I served as Luciano Berio’s musical assistant for a period of two years. Though this was a highly demanding position, it was undoubtedly one of the best learning experiences in my life to date. In addition to assisting Mr. Berio in preparing projects for performance, I engraved his scores for publication for both Universal Edition and Ricordi. Universal Edition was instrumental in teaching me the fundamental principles of music engraving, and many of the techniques I use today are based on these age-old principles.
I served as Luciano Berio’s musical assistant for a period of two years. Though this was a highly demanding position, it was undoubtedly one of the best learning experiences in my life to date. In addition to assisting Mr. Berio in preparing projects for performance, I engraved his scores for publication for both Universal Edition and Ricordi. Universal Edition was instrumental in teaching me the fundamental principles of music engraving, and many of the techniques I use today are based on these age-old principles.
Luciano Berio, Voci for Solo Viola and Two Instrumental Groups, pp. 7, 9, and 30.
Luciano Berio, Sequenza XIII (Chanson) for Accordion, pp. 2 and 3
Gary Schocker
Gary Schocker might be seen as the Telemann of the twenty-first century, certainly not in the sound or style of his music, but in the ease and speed in which he composes. Keeping pace with his speed is a feat in itself. Mr. Schocker receives numerous commissions each year from a variety of performing organizations around the world, and he readily fulfills these commissions. As a result, his materials must be completed quickly, without any sacrifice in clarity and accuracy.
Gary Schocker might be seen as the Telemann of the twenty-first century, certainly not in the sound or style of his music, but in the ease and speed in which he composes. Keeping pace with his speed is a feat in itself. Mr. Schocker receives numerous commissions each year from a variety of performing organizations around the world, and he readily fulfills these commissions. As a result, his materials must be completed quickly, without any sacrifice in clarity and accuracy.
Gary Schocker, Cove for Flute and Piano, pp. 2 and 3.
Gary Schocker, Hypnosis for Guitar and Harp, pp. 6 and 18.
Gary Schocker, Music out of Doors for Solo Harp, pp. 5, 6 and 7.
Lauren Keiser Music
Mr. Lauren Keiser served as the President of Carl Fischer Music for a number of years, and he was responsible for engaging me as Managing Editor of this company. Since his retirement from Carl Fischer, he has devoted his time to composing and to founding his own publishing company. Mr. Keiser’s present catalog features a balanced mixture of educational and serious music. He is able to engage some of the leading performers and educators of our day to prepare a wide variety of materials for publication.
Mr. Lauren Keiser served as the President of Carl Fischer Music for a number of years, and he was responsible for engaging me as Managing Editor of this company. Since his retirement from Carl Fischer, he has devoted his time to composing and to founding his own publishing company. Mr. Keiser’s present catalog features a balanced mixture of educational and serious music. He is able to engage some of the leading performers and educators of our day to prepare a wide variety of materials for publication.
Johann Sebastian Bach, Chromatic Fantasy and Fugue (p. 4), arranged for solo clarinet by Richard Stoltzman
Antonin Dvořák, String Quartet No. 12 in F Major, Op. 96 ("American"), (p. 16), arranged for wind quintet by Charles Neidich
Henryk Wieniawski, Polonaise Brillante No. 1 in D Major, Op. 4, (p. 1), edited by Endre Granat
Antonin Dvořák, String Quartet No. 12 in F Major, Op. 96 ("American"), (p. 16), arranged for wind quintet by Charles Neidich
Henryk Wieniawski, Polonaise Brillante No. 1 in D Major, Op. 4, (p. 1), edited by Endre Granat
