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              <text>&lt;a href="https://seamusonline.org/work/now-our-grief-is-put-away/"&gt;SEAMUS Database&lt;/a&gt;</text>
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              <text>&lt;p&gt;&lt;iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/49479502&amp;amp;color=%23ff5500&amp;amp;auto_play=false&amp;amp;hide_related=false&amp;amp;show_comments=true&amp;amp;show_user=true&amp;amp;show_reposts=false&amp;amp;show_teaser=true&amp;amp;visual=true"&gt;&lt;/iframe&gt;&lt;/p&gt;&#13;
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                <text>&lt;em&gt;now our grief is put away&lt;/em&gt;</text>
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                <text>2010</text>
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                <text>Music: &lt;a href="https://compel-dev.vtlibraries.net/items/show/620"&gt;Robert McClure&lt;/a&gt; &lt;br /&gt;Text: &lt;a href="https://compel-dev.vtlibraries.net/items/show/997"&gt;Anne Shaw&lt;/a&gt;</text>
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                <text>now our grief is put away uses the poem titled Khao Lak Paradise Resort by Anne Shaw in her book, Undertow. I found Anne after searching for poets I wanted to set for a different project. This poem leapt off the page with its vivid imagery and haunting descriptions of the tsunami that occurred on December 24, 2004 in the Southeast Pacific which included Thailand, the setting for this poem. Due to its length and singularity of subject, I decided to not include this poem in what would eventually become Transit for soprano, vibraphone, and double bass but rather set the work as its own piece. The poem is filled with Anne’s own description of her experience in the relief efforts, sayings from Thai culture, and descriptions from survivors of the tsunami. Shaw writes, “Thai culture allows a mourning period of 100 days, after which the soul of the departed - and the lives of the living - must move on,” as a description for the line, now our grief is put away.</text>
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                <text>&lt;em&gt;&lt;/em&gt;&#13;
&lt;p class="Style30"&gt;&lt;em&gt;now our grief is put away&lt;/em&gt; uses the poem titled Khao Lak Paradise Resort by Anne Shaw in her book, Undertow.&amp;nbsp;&amp;nbsp;I found Anne after searching for poets I wanted to set for a different project.&amp;nbsp;&amp;nbsp;This poem leapt off the page with its vivid imagery and haunting descriptions of the tsunami that occurred on December 24, 2004 in the Southeast Pacific which included Thailand, the setting for this poem. The poem is filled with Anne’s own description of her experience in the relief efforts, sayings from Thai culture, and descriptions from survivors of the tsunami.&amp;nbsp;&amp;nbsp;Shaw writes, “Thai culture allows a mourning period of 100 days, after which the soul of the departed – and the lives of the living – must move on,” as a description for the line, now our grief is put away.&lt;/p&gt;&#13;
&lt;p class="Style30"&gt;In setting the work, I did not want to try and take the audience to the places described but rather give them snapshots of moments or resurfacing memories they might have if they experienced this horrific event.&amp;nbsp;&amp;nbsp;The reader of the spoken text in the electronics is Anne Shaw who, kindly, lent her voice to this project.&lt;/p&gt;</text>
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              <text>Bass flute, clarinet, and computer</text>
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              <text>&lt;a href="https://seamusonline.org/?post_type=work&amp;amp;p=2733"&gt;Seamus database record&lt;/a&gt; &lt;br /&gt;&lt;a href="https://www.youtube.com/watch?v=8PEkC1Bae-4"&gt;YouTube video of live performance&lt;/a&gt; &lt;br /&gt;&lt;a href="https://soundcloud.com/rob-mcclure/homologic"&gt;Piece recording on SoundCloud&lt;/a&gt;</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/620"&gt;Robert McClure&lt;/a&gt;</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/703"&gt;Stephen Hennessey&lt;/a&gt;</text>
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              <text>&lt;a href="https://seamusonline.org/work/flown/"&gt;SEAMUS Database&lt;/a&gt;</text>
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              <text>baritone voice, bass clarinet, trumpet, trombone</text>
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              <text>&lt;a href="https://seamusonline.org/work/the-lightning-field/"&gt;SEAMUS Database&lt;/a&gt;</text>
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              <text>&lt;p&gt;&lt;iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/165170973&amp;amp;color=%23ff5500&amp;amp;auto_play=false&amp;amp;hide_related=false&amp;amp;show_comments=true&amp;amp;show_user=true&amp;amp;show_reposts=false&amp;amp;show_teaser=true&amp;amp;visual=true"&gt;&lt;/iframe&gt;&lt;/p&gt;&#13;
&lt;div style="font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;"&gt;&lt;a href="https://soundcloud.com/charlottenewmusic" title="CharlotteNewMusic" target="_blank" style="color: #cccccc; text-decoration: none;" rel="noopener"&gt;CharlotteNewMusic&lt;/a&gt; · &lt;a href="https://soundcloud.com/charlottenewmusic/mcclure-the-lightning-field" title="Robert McClure, The Lightning Field" target="_blank" style="color: #cccccc; text-decoration: none;" rel="noopener"&gt;Robert McClure, The Lightning Field&lt;/a&gt;&lt;/div&gt;</text>
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                <text>&lt;em&gt;The Lightning Field&lt;/em&gt;</text>
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                <text>sound: &lt;a href="https://compel-dev.vtlibraries.net/items/show/620"&gt;Robert McClure&lt;/a&gt;&lt;br /&gt;text: &lt;a href="https://compel-dev.vtlibraries.net/items/show/997"&gt;Alix Anne Shaw&lt;/a&gt;</text>
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                <text>&lt;div class="work-body"&gt;&#13;
&lt;p class="Style30"&gt;The Lightning Field for baritone, bass clarinet, trumpet, bass trombone, and computer was written for the loadbang ensemble with text by poet, Anne Shaw. The Lightning Field is a land-art work in the western high desert of New Mexico by Walter De Maria. The work consists of 400 stainless steel poles sticking out of the earth in the shape of a grid. The poetry was written during a trip to view the work.&amp;nbsp;&amp;nbsp;The overriding concepts at play during the compositional process were isolation and introspection. This work is the fifth collaboration between myself and Anne Shaw.&lt;/p&gt;&#13;
&lt;p class="Style30"&gt;The four seamless movements track various emotional states that Anne encountered while walking through the field and writing. The third movement exhibits a numerical connection with the original land-art. The first 400 unique words of the poetry were recorded and are played at random creating a murmuring texture above the ensemble. The harmonic material likewise was put through process of my own design, which involves pitch set evolution as opposed to variation. The final movement features Anne’s own voice reading a letter about her time spent at the field while viewing the piece.&lt;/p&gt;&#13;
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              <text>&lt;a href="https://seamusonline.org/work/iriviskia/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="https://soundcloud.com/user-905656918/iriviskia-violin-horn-duo-with-computer-realized-sound"&gt;SoundCloud&lt;/a&gt;&lt;br /&gt;&lt;a href="http://ewatrebacz.com/works/iriviskia/downloads/"&gt;Download the electronics&lt;/a&gt;&lt;br /&gt;&lt;a href="ewatrebacz.com/iriviskia/IRIVISKIA_2017_REMIX_StereoUHJ.aif%5C"&gt;Trębacz's Website&lt;/a&gt;</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/713"&gt;Ewa Trębacz&lt;/a&gt;</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/686"&gt;Jon Appleton&lt;/a&gt;&lt;br /&gt;&lt;a href="https://compel-dev.vtlibraries.net/items/show/764"&gt;Paul Botelho&lt;/a&gt;</text>
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              <text>&lt;a href="https://seamusonline.org/work/die-herrlichkeit-loch-in-den-bundling-bord/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="https://pauljbotelho.com/media/die_herrlichkeit/die_herrlichkeit.mp3"&gt;Listen to &lt;em&gt;Die Herrlichkeit Loch in den Bundling Bord&lt;/em&gt;&lt;/a&gt;</text>
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                <text>in collaboration with Paul Botelho</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/686"&gt;Jon Appleton&lt;/a&gt;&lt;br /&gt;&lt;a href="https://compel-dev.vtlibraries.net/items/show/764"&gt;Paul Botelho&lt;/a&gt;</text>
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              <text>for Voice, Piano and Fixed Media</text>
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              <text>&lt;a href="https://seamusonline.org/work/nair-sur-le-lit/"&gt;SEAMUS Database&lt;/a&gt;</text>
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                <text>Performed live at the 1978 Dartmouth College Glee Club’s Winter Carnival Concert, Spaulding Auditorium, Paul Zeller, director.</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/686"&gt;Jon Appleton&lt;/a&gt;</text>
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              <text>&lt;a href="https://seamusonline.org/work/ofa-atu-tonga/"&gt;SEAMUS Database&lt;/a&gt;&lt;br /&gt;&lt;a href="http://media.dartmouth.edu/~jonesmedia/Appleton/APP1082.mp3"&gt;Listen to &lt;em&gt;'Ofa atu Tonga&lt;/em&gt;&lt;/a&gt;</text>
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