For vocalizing alto saxophonist and 24-channel sound system [30:00 – 39:00]. Composed for Kyle Hutchins.

Invincible uses the Weighted Pitch Network/Harmony-Building Method (described above) to create ambiguous, undefinable harmonies in past, present and future moments of the piece. Through four speech interludes, the performer displays his mental destabilization. The placement of the accents is a representation of a language, communicating phrases about ability, societal norms, freedom, and drugs. Cycles of increasing degrees of improvisation imitate the mythological endlessly-toiling Sisyphus. Just as Sisyphus had to endlessly repeat the cycle of pushing a boulder up a mountain only for it to roll down once it reached the top, the performer gradually transitions from minimal improvisatory freedom to ample improvisatory freedom only to restart at minimal improvisatory freedom. The click track is audible. The performer first tries to strictly follow it, then later tries to rebel against it and to rebel against the act of rebelling against it. Invincible is formalistic, and is also sadistic towards the performer and the audience. It is sadistic towards the performer in that it is very difficult, sometimes has barely any rests for the performer to breathe, and in one passage asks the performer to try to imagine physical pain. It is sadistic for the audience in that it is difficult to listen to and is too loud to mentally escape from. It is sadistic for three reasons: in order to explore different possible relationships between composer, performer, and audience, because the composer would like to share his pain with others in order to connect with them, and in order to explore the effect of sadism on music composition.

Performances

Apr 27, 2018. Perform Studio, Moss Arts Center. Blacksburg, VA. Premiered by Kyle Hutchins at DJ Malinowski’s Senior Composition Recital.