Jason Teutsch «



Some music I have written during my life (1978- ).


  Intuitive Action (2002)    [text]
1
 I.First Six   [2:04]
2
 VII.Interlude II   [1:18]
3
 X.Upper Six   [2:56]
Alison Bacich, soprano Ben Ellerin, tenor
Melody Grewell, soprano    Asa Fradkin, baritone
Brigid Berger, mezzo-soprano Michael Forbes, baritone
Jennifer Renda, mezzo-soprano     Nathan Baer, bass
Mariel Berger, alto David Schneider, bass
Anna Marsh, alto Eric Guinivan, timpani and gong
Vince Lee, conductor
March 25, 2003
Recital Hall, Indiana School of Music
Bloomington, Indiana


Four Paintings by Salvador Dalí (1999)     [program notes]
4
 I.The Invisible Man   [1:53]
5
 II.Surrealist Object Indicative of Instantaneous Memory   [2:02]
6
 III.The Three Ages   [1:19]
7
 IV.The Endless Enigma   [1:32]
Jason Teutsch, guitar
March 28, 2001
Hochshule der Künste Berlin, Konzertsaal Bundesallee
Berlin, Germany


Suite for Guitar and String Quartet #1 (1999)     [program notes]
8
  I. Andante   [2:25]
9
 II. Presto   [1:47]
 
Suite for Guitar and String Quartet #2:
American Landscapes (2000)     [program notes]
10
I. Battery Park, Manhattan   [3:48]
11
II. Monroe County, Florida   [5:54]
12
III. Early Pioneers   [4:25]
13
IV. West of Omaha   [2:38]
Linda Whealton and Ellen Lin, violins
Caitlin Olsen, viola
Ami Radunskaya, cello
Jason Teutsch, guitar
April 22, 2000
Mabel Shaw Bridges Hall of Music, Pomona College
Claremont, California


14
L, the U, and E (2000)   [4:07]
Margaret Hunter and Abigail Al-Doory, sopranos
Mark Wolfmeyer, piano
April 15, 2000, Little Bridges


15
Synthesis #3 (2001)   [6:57]
Abigail Al-Doory, piano
April, 2001
Cambridge, Massachusetts


16

Óbudán Már Nagyon Régen is Laktak (2001)   [3:55]     [text / translation]
Nóra Nagy, narrator
Jason Teutsch, guitar
May 2001
Budapest, Hungary


17

And Also a Dog (2001)   [4:05]
December 3, 2001
Center for Electronic and Computer Music, Indiana University
Bloomington, Indiana


18

Toolik (2002)   [5:27]
May 2003
Center for Electronic and Computer Music, Indiana University
Bloomington, Indiana


Intuitive Action (2002)    [text]
19
I.First Six   [2:12]
20
II.Second Six   [0:13]
21
IV.Completion of Second Six   [1:05]
22
V.Third Six   [1:18]
23
VI.Fourth Nine   [0:32]
24
VII.Fifth Six   [0:45]
25
VIII.Interlude II   [1:02]
26
IX.Completion of Fifth Six   [0:59]
27
X.Upper Six   [1:28]
Contemporary Vocal Ensemble 
Carmen Tellez, conductor
December, 2002
Bloomington, Indiana


28

Dog Food and Harp (2004)   [5:01]
Louisa Ellis, harp
April 25, 2004
Ford Hall, Indiana School of Music
Bloomington, Indiana


Two Portraits of a Mexican Woman Named Gordita and one of her Amicable and Fluffy Chinchilla
29
 I.   [2:04]
30
 II.   [1:18]
31
 III.   [2:56]
Jerrod Price, trumpet      Alex Eisenberg, flute
Lisa Weiner, viola Jason Harris, trombone
Teresa Lunsford, cello Sheila Cullen, clarinet
March 23, 2004
Auer Hall, Indiana School of Music
Bloomington, Indiana


Other scores and music:

Prelude and two Dances (guitar solo, 1998?)
Nähe des Geliebten (tenor and piano, 1996)
Psalm (2 basses, viola, piano, 2003)
Blueberry Rag (piano solo, 1997)
Cats (carillon solo, 2007)
Wedding Dance (clarinet and guitar, 2005)
Rose, Sheep, and Lilly (alto, triangle, timpani, 2003)
Mimarom (niggun, 2010)
NFL Combo (montage of television music, 2015)


Somewhat legible student scores:

Cascades (recorder solo, 1997?)
Gnihton Ssessop (massive orchestra with double chorus and soloists, 2004?)
Deconstruction of Truth (piano solo, 1997)
Reconstruction of Truth (piano 4-hands, 1997)
Swamp Monster (.rhp) (bird/recorder, frog/violin, algae/cello, monster/clarinet, bug/piano, 1997)
Swamp Monster (uncut) (same)
Berlin-Mexico (harp solo, 2001)

Artistic influences

My teachers have included Sven-David Sandström and Tom Flaherty (composition), Jack Sanders (guitar), and Shirley Robbins (recorder). Balinese gamelan has influenced my compositions. I studied Balinese music with I Nyoman Wenten at UCLA and Pomona, with Tom Whitman at Swarthmore, and with Wayne Vitale at Pomona.

Enumerations

The clickable numbers above refer to track numbers on the pair of CD's where I stored these recording until the Internet became large enough to absorb the corresponding .mp3 files.