About Me

Northfield, Minnesota, United States
In 2000 composer Justin Merritt (bn.1975) was the youngest-ever winner of the ASCAP Foundation/Rudolph Nissim Award for Janus Mask for Orchestra. He is also the winner of many other awards including the 2006 Polyphonos Prize, the 2000 Left Coast Chamber Ensemble Composition Competition Award for The Day Florestan Murdered Magister Raro and the 2001 Kuttner String Quartet Competition for Ravening. Other works include music for orchestra, ballet, and opera. He has also worked as composer and musical director in dozens of theater productions, ranging from Shakespeare to DaDa. Justin is an Assistant Professor of Music Composition & Theory at St. Olaf College. He received his Bachelors in Music from Trinity University and a Masters and Doctorate in Music from Indiana University. He studied composition with Samuel Adler, Sven-David Sandström, Claude Baker, Timothy Kramer, Don Freund, and electronic and computer music with Jeffrey Hass.

Wednesday, October 22, 2008

Hive (Piano)

for 4 pianos 16 hands or 2 pianos 8 hands
When I was 9 years old, I stumbled across a book in the school library on killer bees. It described their history and breeding. But the part the captured my attention was the loving detail with which it described grown men being killed by millions of ferocious insects, even as they fled, diving uselessly into homes, cars, and bodies of water. Their cries for help were met with mouthfuls of angry, buzzing drones, with bites inside their clothes and down their throats. More than a few little boys were also mentioned as victims. Needless to say, summer was ruined. Ever honey bee, every buzz, indeed every flicker of an insect wing sent me back inside at top speed.

The book ended by describing the slow march northward of their hives, noting helpfully that they could appear in the American Southwest “any day.” For a boy living in West Texas, this was troubling news. Fortunately, my newfound phobia led to a great deal more piano practice. And so, to come full circle, Hive.

The insistent 5/8 rhythm heard throughout much of the work is a sped-up version of a rather different insect sound. As I worked on this piece, a cricket that prefers odd meters came to live by my window, and his eighth-sixteenth-eight message found its way into this piece.


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