Lewis Krauthamer, composer








H O M E





Selected works / Downloads





B i o





Intro to my musical style

    1. Musical background        
        (experimentalism/microtonality)


    2. On folk music

    Whole thing in pdf




OFF THE BEATEN PATH MUSIC SERIES (OBPMS)




L i n k s





contact: lewis.krauthamer@yahoo.com

Selected works / Downloads


The Flight from Washington (August, 1842)
for microtonal steel-string guitar quartet and ensemble


This work is scheduled to be performed for the first time on April 26th 2014 at Peabody Conservatory's Griswold Hall by the Atlantic Guitar Quartet and the Peabody Camerata, conducted by Gene Young.

The Flight from Washington (August, 1842) is written in three short movements, all of which are inspired by a story told by Thomas Smallwood in his memoirs, which recounts the successful escape of 15 slaves from Washington, led by
little-known antebellum abolitionist, Rev. Charles T. Torrey (1813-1846).
Torrey is credited with having led nearly 400 slaves to freedom in his lifetime. He died of Tuberculosis while incarcerated in a Baltimore City jail for his abolitionist activities.

Movement-specific notes:
I. Dusk

"About the latter part of August, 1842, the beloved friend, Torry, who is now no more, was about to leave Washington for the North, and I desired he would take with him about fifteen persons,--men, women, and children.. until the morning of the day preceeding the night on which friend Torry was to start with the fifteen, we had strove to hire a conveyance, but could not succeed, notwithstanding those persons had all been notified to meet at a certain place on that night, which notice could not be revoked, therefore the people were on the spot at the appointed time. But we were not ready, therefore we had to conceal them in various places in the City [Washington].."
  From A Narrative of Thomas Smallwood pp. 21-22

II. Shadows


Ships That Pass in the Night
  By Paul Laurence Dunbar

Out in the sky the great dark clouds are massing;
      I look far out into the pregnant night,
Where I can hear a solemn booming gun
      And catch the gleaming of a random light,
That tells me that the ship I seek is passing, passing.

My tearful eyes my soul's deep hurt are glassing;
      For I would hail and check that ship of ships.
I stretch my hands imploring, cry aloud,
      My voice falls dead a foot from mine own lips,
And but its ghost doth reach that vessel, passing, passing.

O Earth, O Sky, O Ocean, both surpassing,
      O heart of mine, O soul that dreads the dark!
Is there no hope for me? Is there no way
      That I may sight and check that speeding bark
Which out of sight and sound is passing, passing?


III. Flight

"..the beloved Torry started that .. evening after the setting of the sun with fifteen persons, men, women, and children, for the North. And here I must notice the remarkable interposition of the Lord in preserving them from capture; first, if we could have got ready they would have started the first night mentioned and the early pursuit which was made after them would have resulted in their capture; but, on the contrary, notwithstanding our untiring perseverance we could not get ready; the result was their pursuers had gone a day ahead; and when they were going, some of their pursuers were returning on the same road, and but for another fortunate accident which happened they would have been met on the road and captured by them; but just as they came to a thick bush, within a convenient distance of the first place of deposit, the waggon, without exhibiting any previous weakness whatever, suddenly gave way and they had to turn aside into the bush: while they were thus snugly secreted in the bush those who were hunting them passed by without seeing or hearing any thing of them, this also served as an excellent delusion and put an end to all pursuit in that direction.."
From A Narrative of Thomas Smallwood (pp. 23-24)


Youtube video (total 8'54")
https://www.youtube.com/watch?v=8M-YXtoAb5E


Piedmont Rags


Piedmont Blues/Ragtime is a traditional “pre-blues" style of guitar playing most associated with the Piedmont region of the United States. The style is characterized by a regular alternating bass pattern (normally played by the thumb) juxtaposed with a syncopated melody (normally played by the forefinger).


Go Down That Hill (Piedmont Rag No. 1) for steel string guitar trio (2012)
(Guitars are specially tuned to accommodate a microtonal sixth-tone scale.)
This composition draws some of its musical material from the traditional Negro Spiritual Go Down, Moses.

Youtube video (total 3'56")
http://www.youtube.com/watch?v=BFONq9ya56o

The score in pdf format (15 pages)
RIGHT CLICK, “SAVE LINK AS"
[10.13 MB, 1 pdf file]

Recording in mp3 format (total 3'51")
RIGHT CLICK, “SAVE LINK AS"
[8.82 MB, 1 mp3 file, 320 kbps]


Rainy Day (Piedmont Rag No. 2) for steel string guitar trio (2012)
(Guitars are specially tuned to accommodate a microtonal sixth-tone scale.)
i. "Rainy Day"
ii. "Night"

Youtube video (total 5'13")
https://www.youtube.com/watch?v=gc44ZitarAI

The score in pdf format (21 pages)
RIGHT CLICK, "SAVE LINK AS"
[6.77 MB, 1 pdf file]

Recording in mp3 format (total 5'08")
RIGHT CLICK, "SAVE LINK AS"
[11.76 MB,1 mp3 file, 320 kbps]


Other Works



The Pepper Tree for guitar trio (2010)
(Guitars are specially tuned to accommodate a microtonal sixth-tone scale.)

This work was inspired by the song El Pimiento by VÝctor Jara. There are six sections, each of which is meant to evoke a particular image from the original song (see below for section titles).
This piece was premiered by Mobius Trio (guitarists Mason Fish, Matthew Linder and Robert Nance) on September 23rd, 2011 as part of the Music for People & Thingamajigs Festival in Oakland, CA. The performance was made possible through grants from the Foundation for Contemporary Arts and Meet the Composer (New Music USA).
I. “The Pepper Tree"
II. “Sun and wind sustain him"
III. “Working underground, looking for nourishment"
IV. “Blossom of red fire"
V. “Moon and wind watch over him"
VI. “Growth"

Youtube links
Mobius trio performance (total 7'03"): http://www.youtube.com/watch?v=6o6YV1SvB1Y
Older recording which I feel captures the spirit of the piece, despite the technical flaws (total 6'49"): https://www.youtube.com/watch?v=i6NjJyR4v0s

The score in pdf format (15 pages)
RIGHT CLICK, “SAVE LINK AS"
[1.34 MB, 1 pdf file]

Recording in mp3 format (Mobius Trio Performance) (total 6'51")
RIGHT CLICK, “SAVE LINK AS"
[15.71 MB, 1 mp3 file, 320 kbps; Live concert performance: Mobius Trio; Zachary James Watkins, sound engineer]



Deep River (excerpt from Beginnings: An opera for pianist and electronics, 2005-2007)

For approximately two years, while I was living in France, most of my creative energies went into a very ambitious kind of “opera" for piano and electronics. The section I've made available here is musically based on the Negro Spiritual Deep River and incorporates in the elctronic part the sounds of hammer blows (from a recording of work songs collected by Harry Oster at the Louisiana State Penitentiary during the late 1950s). This section, along with much of the rest of the work, dealt with themes relating to Hurricane Katrina and its aftermath.

Recording in mp3 format (total 5'00")
RIGHT CLICK, “SAVE LINK AS"
[11.46 MB, 1 mp3 file, 320 kbps; Lewis Krauthamer, piano / sound engineer]



7 short piano pieces (2003)

In this piece, and others I wrote around the same time, I was interested in treading the fine line between using sound as a purely abstract element (i.e. “sound for the sake of sound") and using it as a metaphor (for certain relationships, or representing/evoking feelings, etc.).

The mp3s I've made available for download were recorded at the Longy School of Music in 2003.

The score in pdf format (5 pages)
RIGHT CLICK, “SAVE LINK AS"
[2.37 MB, 1 pdf file]

Recording in mp3 format (total 13'17")
RIGHT CLICK, “SAVE LINK AS"
[18.18 MB, 1 rar file containing 7 mp3 files, 192 kbps; Lewis Krauthamer, piano; Tyler Futrell, sound engineer]



Trio for 12 instrumentalists (2001)

This piece reflects my interest at the time with the Second Viennese School (though the piece is not dodecaphonic), progressive harmonic/structural procedures and apparently (though I don't think I was conscious of this) the music of Messiaen.
The first movement contains in a very short and condensed form all the motivic material to be used and explored thereafter. In the same order as exposed in the first movement, the motivic material is revisited and developed in each of the subsequent movements, one motive per movement. The reason for the apparently oxymoronic title is that the work was originally written for three instruments -- and though I re-orchestrated it for chamber orchestra, it always stuck as a trio in my mind.
The piece is dedicated to Gene Young and the Peabody Camerata, whose wonderful performance from 2002 is available below for download.
I. StŘrmisch
II. Molto Adagio
III. Wuchtig
IV. Langsam

The score in pdf format (24 pages)
RIGHT CLICK, “SAVE LINK AS"
[13.19 MB, 1 pdf file]

Recording in mp3 format (total 9'09")
RIGHT CLICK, “SAVE LINK AS"
[12.53 MB, 1 rar file containing 4 mp3 files, 192 kbps; Live concert performance: Peabody Camerata; Gene Young, conductor]