Pianist Jack Yarbrough visits the UC San Diego campus to perform Ti McCormack's concert-length piano solo mine but for its sublimation. Written in collaboration with Yarbrough throughout much of 2020-21, the piece uses register, resonance, and touch to create a hermetic but expansive listening experience. Yarbrough's studio recording of the piece is forthcoming on the record label Another Timbre. 

ABOUT THE ARTIST:

Jack Yarbrough is a pianist working in the fields of contemporary and experimental music. Largely devoted to the solo piano recital as a means of temporal and perceptual expansion, Jack has commissioned several large scale works with the goal of revitalizing piano repertoire in the face of its increasing obsolescence. He has collaborated closely with composers including Timothy McCormack, Bunita Marcus, Richard Barrett, Marti Epstein, Victoria Cheah, Jack Langdon, John Eagle, Kory Reeder, and Bahar Royaee. Active as a chamber musician as well, he has performed with and alongside ensembles including Ensemble intercontemperain, Yarn/Wire and Ensemble X. Jack has received recognition from journalists including Alex Ross, Tim Rutherford-Johnson and Steve Smith. As a member of Alinéa, he has received press coverage as well as a nomination for the Royal Philharmonic Society awards. Born outside of Birmingham, Alabama, Jack currently resides in Ithaca, NY. He holds a Masters of Music in contemporary chamber music performance from the Boston Conservatory and a Bachelor of Music from the University of Kansas. Jack is currently completing a Doctorate of Musical Arts in performance practice at Cornell University, where he is a Sage fellow and teaches an active piano studio. Jack’s teachers include Stephen Drury, Xak Bjerken, Michael Kirkendoll and Jack Winerock. Future projects include a CD release of Timothy McCormack’s mine but for its sublimation as well as a reconstruction of Maryanne Amacher’s Petra with Thomas Feng. His recordings can be heard on Sawyer Editions. 

ABOUT THE COMPOSER:

Ti McCormack writes haptic, viscous music which makes audible the tactile, physical relationship between a performer and their instrument. Sometimes ecstatic, sometimes hermetic, their music threads an intimacy between tone and noise to create strangely affecting sonic ecologies which alter one’s perception of time. They also engage with contemporary queer aesthetics: hæmal ancestries, incurable disease and its histories, mourning, listening, and the erotics of form. McCormack is the recipient of the prestigious Ernst von Siemens Musikstiftung Composers’ Prize (2018), as well as the Impuls International Composition Competition (2019).