2012, by Caroline Shaw

for cello, flower pots

Boris S. Kerner lives in Stuttgart and is the author of Introduction to Modern Traffic Flow Theory and Control: The Long Road to Three-Phase Traffic Theory…another in a series of expositions on the curious phrase “the detail of the pattern is movement”.

2018, by David Crowell

for 3 cellos, vibraphone, drumset, voice, electronics

Catharsis is about emotional turmoil and release. The music was commissioned by New Morse Code and a consortium of cellists and percussionists, for an expanded version of a cello / percussion duo.

2016, by Robert Honstein

for prepared cello, percussion

Down Down Baby is a childhood clapping game. Kids stand in a circle, clapping hands in choreographed patterns while singing a simple rhyming song. You know – Shimmy, Shimmy cocoa pop / Shimmy, Shimmy pow.

2018, by susan kander

for soprano, cello, percussion

A gripping, personal, chamber opera about an African-American woman teaching her son to drive in a country where this has become a potentially lethal activity.

2018, by George Lam

for cello, percussion, pre-recorded voices

The Emigrants began by collecting oral history interviews with the emigrant musician community of New York City’s borough of Queens, one of the most ethnically diverse urban areas in the world.

2012, by Tonia Ko

for cello, percussion

Taking excerpts from Virginia Woolf's short story "The String Quartet," the performers convey the busy-ness of speech and conversation contrasted with the simplicity of song.

2015, by Christopher Stark

for cello, percussion, electronics, video

We have arrived at an era of human history in which our relationship with nature is critical, and likely calamitous, and this work is ultimately an attempt to illuminate the importance of the geographies of our existence and how they shape our musical spirit.

Arr. 2015, by Caroline Shaw

for cello, marimba

Limestone & Felt presents two kinds of surfaces – essentially hard and soft. These are materials that can suggest place (a cathedral apse, or the inside of a wool hat), stature, function, and – for me – sound (reverberant or muted).

2019, by Florent Ghys

for cello, vibraphone, video

November Foxtrot is a large scale multimedia collaboration between New Morse Code and Florent Ghys, developed at Avaloch Farm Music Institute. Its eight movements explore language, alphabet, transmission, Morse Code, and other means of communication.

2018, by Thomas Kotcheff

for cello, percussion

 Like the Heart Sutra, “gone, gone, gone beyond, gone beyond beyond” or the writings of Ram Dass, “go in in in in, further in, oh much further in, oh you’re just begun, keep going back in,” as you reach towards a possible goal there are only more and more and more possible goals to reach.

2013, by Paul Kerekes

for cello, percussion, piano

We had to rehearse in three adjacent spaces with the doors open, which, despite its inconvenience, resulted in reliance towards the person one was nearest to. Each part’s melody moves independently, but in a way to signal the others around it.

2015, by Robert Honstein

open instrumentation

Unwind is a delicate exposition of off-kilter rhythms and slowly ascending lines. Layers of asynchronous pulses evoke an unwinding music box as cyclical rhythmic patterns move in and out of phase with each other.

2018, by Ingrid Stölzel

for flute, cello, marimba

Whitman…equates the everlasting cyclical nature of life, with the creative process, where—like the rain—the creation changes form but is always the same at its core and eventually returns to the poet as love from those who read the words.