Compass (2010) was commissioned by a consortium of ten saxophone quartets, led especially by Taimur Sullivan of the Prism Quartet, who premiered it in New York and Philadelphia in June, 2011. It was entirely written at Yaddo in November, 2010. This is a performance by the h2 quartet at Cortona Sessions in June, 2012.
Same great performance, same audio, different video feed.
Here is Prism doing the first movement at the Philadelphia Settlement School in April, 2017.
Talking Points (Right Wing Echo Chamber) - David Rakowski from Manhattan New Music Project on Vimeo.
Mikronomicon was written in May to August of 2009 and commissioned by Boston Musica Viva. It is a micro-piano concerto written specifically for Geoff Burleson, so the jazzy of the first movement and the funky of the last are all about him and his playing. The title is a hybrid of microconcerto and necronomicon — obviously Beff and I were channeling Army of Darkness when we were coming up with a title for the piece.
I wrote Exact Change in December 2011 for Mary Fukushima and Jeff Loeffert (also known as the Loeffert-Fukushima Duo). I hemmed and hawed for a while, not thinking I could do much with the combination of flute and soprano sax, but they are both such fabulous musicians, it turns out that there was nothing to have been worrying about. The two movements are called Heads and Tails, and the sequence of performance determined by a coin flip. Exact Change is published and © by CF Peters, Edition 68386.
Here are both movements filmed separately in an awesome performance by James Barger and Helen Blackburn in April, 2015.
Here are Heather Jost and Lauren Armstrong playing it on a junior recital at Lawrence University in 2013.
Here is the recording, auto-generated by YouTube.
Hyperblue is the first of my three piano trios, commissioned by the Fromm Foundation for the Itzkoff-Shapiro-Rider Trio. I wrote it in 1991-93 -- which is to say I wrote a bunch, threw it all out, wrote some more, didn't know what to do next, and finished it in a whirlwind when a March 1993 premiere was set. The movements are played attacca, but you know.
Attitude Problem was written for the Triple Helix Trio in 1995-96. This trio was formed out when Gerry Itzkoff left town and Bayla Keyes replaced him on violin in the trio for whom Hyperblue was written. Again, the movements are played without pause. The first movement got a severe haircut after the premiere.
Sesso e Violenza for two flutes, piano, percussion, and string trio was written in 1995-96 at the American Academy in Rome and was commissioned by the Koussevitzky Foundation for ensemble 21. The title simply states that I think of low flute as sexy and high flute as violent. As was so often the case at this time, the movements are to be performed attacca.
Two Can Play That Game (1995) for bass clarinet and marimba was written for Peter Josheff and a duo he was about to form. I wrote it at the American Academy in Rome, my first fun piece to write since finishing a 'cello concerto that I now dislike. This is Amy Advocat and Matt Sharock, who seem to have no upper limit, at the Somerville Theater. © by CF Peters, of course.
Gli Uccelli di Bogliasco (2006) for flute/piccolo and two pianos. This is not a movie, but Mike Kirkendoll put the recording of the premiere on his SoundCloud page, so here it is. Mary Fukushima plays flute and piccolo, and the pianists are Mike and Nathanael May.
Also not a movie, the first movement of a flute and piano piece called Firecat from 1994 (the title is from a Wallace Stevens poem Earthy Anecdote). Mike and Mary Fukushima (the duo of DuoSolo) learned it, and it sure is hard and sure does have a lot of notes.
Cell'Out is a piece for four 'celli, written for Rhonda Rider and her constellation, that outgrew its moorings. Here is the second movement played by eleven 'cellos (one of them Rhonda) at Music from Salem.
Disparate Measures (2006) is a piano quintet written for the Stony Brook Contemporary Players. Totally written at Yaddo, and the first movement responds to the Great Blue Herons I saw flying close to the windows of my studio daily. The other two movements don't.
Take Jazz Chords, Make Strange (1998) was written for the Lydian String Quartet, and to celebrate the fiftieth anniversary of Brandeis University. Since I wrote it for free, I added clarinet so Beff could play it, get paid, and at least some fundage flow into the family coffers. It is published and © by CF Peters, Edition 67823.
Here is another performance of Take Jazz Chords, Make Strange from the early 21st century.
Inside Story (2005) is my third piano trio, and was written for Curt Macomber's trio at his festival in Vermont with Norm Fischer and Jeanne Kierman. I wrote the first movement just as we got new kittens, so their playing and jumping around is portrayed therein. This performance is Speculum Musicæ.
AhChim AnGae (2009) was written for the Pacific Rim Music Festival, and is for haegeum (Korean fiddle) and string trio. This is the performance at Brandeis with members of the Del Sol Quartet. The title is Korean for "morning fog".
Diverti (1991) for clarinet and piano. The "perky" movement, called Per Che, was written for Beff and Geoff to play at Spencer high school. The movements that precede it, Pourquoi and Warum, were added to round out the set. All the movements are built around the motto B-E-F-F, which opens the piece. Published by CF Peters, Edition 67542. This is Beff with Sandra Sprecher.
Stolen Moments (2008) commissioned by Merkin Hall as a response to jazz. Original performers were the Lark Chamber Artists, Zephyros Winds and Tony de Mare. This is the University of Indiana New Music Ensemble in October, 2014 conducted by David Dzubay.
Dances in the Dark (1996, 1998). Suite from a children's ballet. This is NYNME.