OF THE NEAR AND FAR
Modney violin
Pala Garcia violin
Kyle Armbrust viola
Michael Nicolas cello
Sylvie Courvoisier piano
Miles Okazaki guitar
Kim Cass bass
John Hollenbeck drums and percussion
Arktureye electronics
Patricia Brennan vibraphone with electronics, marimba
Eli Greenhoe conductor
1 Antlia 7:31
2 Aquarius 7:31
The remainder of the recording can be found here
All Compositions by Patricia Brennan
Produced by David Breskin
I’ve always been captivated by the night sky, endlessly wondering about what lies beyond. Amidst the vast expanse of stars, there is a sense of balance and symmetry that fascinates me—an order within the chaos. The innate patterns of the constellations sparked my curiosity, prompting me to explore how these celestial forms might be translated musically.
In the summer of 2024, I developed a process that allowed me to collect pitch and numerical data from constellations. I overlaid the shapes of constellations onto a circle of fifths, intrigued by whether the symmetry of the constellations could translate into musical symmetry—whether harmonic or melodic. The circle of fifths is already a highly symmetrical structure that organizes pitches in a sequence. By mapping the constellations’ shapes onto this circle, I discovered new relationships between pitches, chords, and even key signatures. These relationships emerged purely from the constellations’ symmetry, not from traditional music theory.
To my surprise, many of the pitch collections I gathered were harmonically consonant and “made sense” from a theoretical standpoint. The material I collected became raw material for my compositional process. Most of the pieces on this record are entirely based on the data I gathered, with each composition drawing from the unique patterns of the stars. I also explored the mythology behind each constellation—some well-known, others less so—but all rich with history and inspiration for generations of artists.
Since it was summer, I was naturally drawn to the constellations surrounding the Summer Triangle, often observing them through my telescope. Some of the constellations featured on this record share stars that form part of this iconic stellar pattern.
The five constellations explored on this record are: Antlia (The Air Pump), Aquarius (The Water Bearer), Andromeda (The Chained Woman), Lyra (The Lyre), and Aquila (The Eagle). Also included is a composition inspired by the essence of this work, rather than any specific constellation: “When You Stare Into The Abyss.” As part of the compositional process, I created two graphic scores: “Citlalli I” and “Citlalli II.” During the recording process, the ensemble improvised a version of each score, and this material was used to shape the electroacoustic track “Citlalli.”
The sonic palette for this record is inspired by my background in classical music and in new music, combined with the sonic possibilities of jazz rhythm section instruments. My musical education was shaped significantly by my roles in orchestras, percussion ensembles, and chamber music groups. My first professional job as a musician was as the timpanist for a state-funded orchestra in Mexico. This path led to other orchestral positions, eventually bringing me to the U.S.
Although I later shifted toward improvised music, I continue to draw inspiration from orchestral works, including compositions by Brahms, Debussy, Dvořák, Stravinsky, Copland, and more. As a percussionist, I had the opportunity to lead my own percussion ensemble and also explored contemporary chamber music. These experiences introduced me to groundbreaking composers such as John Cage, Karlheinz Stockhausen, and Paul Lansky. Additionally, I draw inspiration from the popular music that influenced me growing up, particularly rock bands and other groups from the mid-to-late 90s, most prominently Radiohead and Soundgarden.
The instrumentation of this ensemble reflects these inspirations. It features a jazz quintet—piano, bass, drums, guitar, and mallet percussion—along with a standard string quartet and also includes an electronic musician. The electronic components take on different roles throughout the record. Sometimes, they function as interstitial elements, while at others they take a more prominent role within a composition, adding another textural layer. On the track “Citlalli,” the electronics take center stage. The piece features improvisations by the ensemble members, based on the graphic scores of the same name. These improvisations merge into a single track, which is then electronically manipulated to create a new narrative.
Although the ensemble blends different styles and traditions, I wanted to treat it as a unified whole. Each instrument plays an indispensable role in the compositional fabric.
As on my previous records, I aimed to challenge conventional expectations of each instrument’s role and expand their sonic palette. For example, the strings might adopt a melodic role, which is more traditional, or they might take on a textural role, creating layers of sound. Ultimately, the sonic possibilities of the ensemble are shaped by the needs of each composition and my overall vision for this project.
As you listen to this music, I invite you to free your imagination and encourage you to look not only inward and upward, but also to seek the light of hope amidst the darkness of the abyss.
Patricia Brennan
Brooklyn, May 12, 2025
ANTLIA
Antlia (The Air Pump) was identified by the French astronomer Nicolas-Louis de Lacaille in the 18th century. He named several constellations after scientific instruments, honoring the spirit of scientific exploration, and he named this one after the air pump. I wanted this piece to feel mechanical, as if we were inside the workings of a machine. Each player becomes a part of this machine, with a specific role that is indispensable to its function. The piece features “gear changes” that mark transitions within each layer, as if the machine were performing a new function using the same components. Despite the mechanical nature of this composition, groove elements guide its flow. The piece includes elements of rhythmic elasticity as well as more danceable moments inspired by Afrobeat and electronic dance music. This piece says: let’s adventure together and move without inhibitions.
AQUARIUS
Aquarius (The Water Bearer) is one of the twelve constellations of the zodiac, often depicted as a figure carrying a vessel of water. One of the larger water-themed constellations, it is commonly associated with humanitarianism, idealism, and innovation. In Greek mythology, Ganymede was abducted by Zeus to serve as the cupbearer to the gods for eternity. The constellation symbolizes Ganymede’s role and is also linked to the god of rain. This composition focuses on the textural qualities of water—its flow and the resistance to it, the roughness and imperfections that shape its surface. The melody, carried by the vibraphone and guitar, pours through the bar lines with polyrhythmic fluidity. The strings create a layered soundscape made up of overlapping rhythmic figures. Each string instrument plays a unique rhythmic pattern with specific pitches that, when combined, evoke the image of light reflecting off a shimmering, fractured aquatic surface. The rhythm section sets the course for an eternal journey towards an unreachable horizon until the final note of the piano is heard. Water represents life—a life full of beautiful imperfections.
