KITTY BRAZELTON Catalog of Scores








My grandmother played the piano. She played a concerto with the Fort Worth Symphony before marriage and motherhood drew her away from the ivories. My father remembers resenting her practicing. She was a tough, Calvinistic Texan, stronger than she liked to appear. Her drive to make music went underground and resurfaced in accompanying the family singing Broadway songs and Xmas carols while pushing her sons and grandchildren to excel with grim fortitude.
It was probably in reaction to her that I refused to study piano. My sister dutifully struggled through Hanon while I took ballet and flute lessons. When no one was listening I sat down at the piano, put the sustain pedal down and listened to the notes blur into kaleidoscopic harmonies but none of my family considered such experimentation worthy of note. Today I know otherwise and advise parents to encourage kids to experiment and find sounds and combinations to call their own.
Even though my composition originated in the keyboard, I have been wary of writing for it. I have felt that the keyboard was too rigid and predictable, imprisoning in its intonation, timbre and conception, and a standardbearer for the tonal empire. Lately as people have asked me to write for it, I've started to question my anger and wonder if my grandmother isn't still driving me.
Kathy Supové has taken my pieces and made me realize that the piano is much more molten and fluid than I had any idea. I wrote Leg Vague for her birthday January 1999. She made it a breakthrough with her performance at the Flea Theater in NYC. Pianist/composer Jed Distler has invited me to sing with him and he's fun! With my piano duo Yalum' I found a way to make the two pianos deconstruct each other. I'm writing for organ and harpsichord. Here's to ya Grandma!
solo piano
Leg VagueComposed for Kathleen Supové for her birthday, January 1999.199910 min.solo piano and pianist's voiceThe Flea Theater, NYC, April-May 1999 (N.Y.Times 4/26/99)
Liszt in the Murkfor piano. Premiered by Elizabeth Rodgers; repeated by Kathleen Supové19863 min.piano soloColumbia Composers, 1986; Roulette, 1994; CB's Lounge 1998.
solo harpsichord

Suite for Fred Anderson & his Velvet Lounge

Composed during Music At Omi Jazz Residency, for solo harpsichord.19978 min. solo harpsichord


Premiere by Cal Johnson, October 3, 1999, Bethesda MD
piano duo

Yalum' Ta Vinahel (Roots of the Sky)

Premiered by Double Edge (N. Y. Times 10/96, and Improviser 10/96) 199510 1/2 min. piano duo


Whitney Museum at Philip Morris Duo Piano Mini-Festival, May 10, 1996. Repeated Sonic Boom '96, Miller Theate
piano and one instrument
Goin' Homechamber duo with klezmer and other unexpected influences19967 min.for clarinet and pianoContext Studio, August 1996,
Sonata for a Musical Marriage3-movement suite for piano and electric guitar commissioned by Bernadette Speach and Jeffrey Schanzer.199515 min.piano and electric guitarBrooklyn, May 13, 1995
organ and voice
But Ruth SaidA setting of the passage from the Bible where Ruth refuses to leave Naomi.19985 min.for organ and sopranounperformed
Polly's Wedding MusicThe Bride's Advent , Sun-Worship (text by James Russell Lowell), Polly's Wedding March composed for my sister's wedding in June 1991.19919 min.for organ and singer (primarily for organ)The Unitarian Church in Barnstable MA, June 1991
electric keyboard and one instrumentalist/vocalist
i touched
your cheek
Developed at Columbia University Computer Music Center from conversations between composer and performers. Commissioned by twisted tutu (Eve Beglarian & Kathleen Supové) through American Composer Forum's CCP Program (substantially funded by Jerome Foundation). Recorded for o.o.discs, Copland Recording Program; released fall 1999.1995-199710 min.for twisted tutu: voice, microphone, synthesizers, CMIX-processed "found" or sampled material, MIDI sequencing and DAT soundtracksPittsburgh, September 1997. CUMC Interactive Arts Festival 99, The Kitchen, April 1999.
piano in small group context
Fishy WishyA re-texting of the 4th mov't of Schubert's Trout QuintetŃtext from or based on my own translation of text from Schubert's lied "Die Forelle". Recorded for CRI CD "Alternative Schubertiade" spring 1999.19977 min.for 3 sopranos, vibes and piano "Alternative Schubertiade," Downtown Arts Festival, American Opera Projects, NYC 9/19/97 (reviewed in N.Y.Times 9/22/97 and Voice 9/30/97).
Queen of the RainArt song revised for quintet1978-199910 min.for voice, flute, horn, cello and pianoMusic Under Construction, May 18, 1997. First Avenue, January 1999.
piano in mid-sized group context
EAR Exposition, Development & Recapitulation3 detachable movements deconstructing sonata form---is it valid?---Exposition establishes motives a and b in multiple configurations; Development encourages the players to improvise on these ideas; Recapitulation restates and wraps up with a bang.199910 min.for the California EAR Unit ( flute, bass clarinet, violin, cello, 2 keyboards (pano and sampler using processed dialogue by EAR members), marimba and drum set. Los Angeles County Museum, October 13, 1999 (reviewed Los Angeles Times 10/99). Released on CRI-Emergency "Chamber Music for the Inner Ear", April 2002 (reviews: Time Out New York, Los Angeles Times, NPR, All Music Guide, Gramophone, SplendidEzine, Educational Digest, All About Jazz, Classics Today, and The Wire (UK), among others).
The Battle
of X and Y
An algebraic battle between ostinato x and bridge y. Structured ensemble improvisation. Virtuosic rhythm.19997 min.for Rel‰che: oboe, tenor sax, bassoon, viola, piano, double bass and drum set Relâche, Institue of Contemporary Art and Ethical Society, Philadelphia, PA May 2001, (reviewed Philadelphia Inquirer 5/01)
piano in large group context
Sleeping Out Of DoorsA semi-concerto for piano and orchestra. Commissioned and premiered by Kristjan JŠrvi and Absolute Ensemble with soloist FangYu Liao.199815 min.winds 2-2-2-2 (w/ b. cl. & cbsn.), brass 2-1-1; 1 pc. (kit), pno., acoustic gtr. (ampl.), voice (as accomp. only, replaceable with like timbre), strings 4-4-4-4-2 min. (1 bass if ampl.)Merkin Hall, New York, May 5 1998.
Love, I Know Beyond A DoubtMotet including text and melodies from traditional & Occitans chants and a monophonic chanson roial from the"Remede de Fortune" by Guillaume de Machaut (c. 1300-1365), in memory of Professor Peter Gram Swing.199714 min.for SATB chamber choir, 5 soloists & jazz quartet (tenor saxophone, piano, double bass and drums)unperformed
piano also figured prominently in the repertoire of Musica Orbis (1972-79)
Back In The AirConcert of songs and instrumental pieces for MUSICA ORBIS, recorded by dbx, Inc. for demonstration album; September, 1977.197790 minfor bells, chimes, timbales, claves, marimba, vibraphone, piano, organ, harp, flute, recorder, cello, double bass, electric bass, drum set and voicesZellerbach Theater, Annenberg Center, University of Pennsylvania with live broadcast by WXPN-FM; Sanders Theater, Harvard University, live broadcast on WBUR-FM
Sound in SpaceMUSICA ORBIS collaboration with architects using alternative audience-performer spatial configurations, inflatable sculpture, tunnels and microphone "forest" to alter concert ambience.197790 min.portable acoustic instruments as well as harp, flute, drums, cello, bass, hammered dulcimerUniversity of Pennsylvania, March, 1977.
Fire Opal SuitePerformed and recorded by MUSICA ORBIS on "To The Listeners" (Longdivity Records 1977. National reviews. National television broadcasts.)197612 min.for pipe organ, flute, cello, double bass, harp, marimba, drums, piano and voicesThe Bijou, Philadelphia; CBGB's, New York City; Berklee Performance Center, Boston.
Evergreen Festivalannual concert on acoustic instruments by MUSICA ORBIS for the winter Solstice197470 min.for pump organ, flute, recorder, cello, double bass, Irish knee harp, marimba, hand percussion, piano and voicesThe Painted Bride Art Center, every December 1974-77

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