All works are available for performance. Email murphysevertson@gmail.com for more information.
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Saturated with Pleasure
American author Willa Cather sent writer and critic Edith Lewis a letter written from their country house, one of three they shared together. In the first third of the letter, Willa writes from Edith’s room, recounting her delight with the natural world around her. In the second third, she narratively chronicles Jupiter and Venus dancing across the sky. She ends with this statement. I can’t but believe that all that majesty and all that beauty, those fated and unfailing appearances and exits, are something more than mathematics and horrible temperatures. If they are not, then we are the only wonderful things—because we can wonder.
Immediately after this sentence, she remarks on what a wonderful job Edith did packing her white silk suit; “not a wrinkle.”
The first time I read this letter I felt cracked open by the way Cather so easily captures what it feels like to be in love; the way she flips between mundane observations and the deep and philosophical workings of the cosmos. She codes her language, but these words put language to the way I feel; like we’re the only wonderful things left in the universe because she knows I like my tea with oat milk and lots of sugar. |
(7') for singing string quartet.
written for the rhythm method string quartet. premiered at lake george music festival. |
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Too Loud, Too Fast
The three instruments act as three different worlds, worlds that need attention to survive. There's set parameters for each instrument, but the electronics interrupt the playing. All of the electronics are randomized, so the percussionist tries to continue to play along, but is in conflict with these completely randomized electronic noises that don't match up with the worlds we're trying so hard to control. Eventually, the percussionist simply has to keep pushing until the electronics end, something that could happen at any time. |
(15') for crotales, marimba, snare drum, and ChucK.
commissioned by Karina Howey. |
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the trinity: a religious suite
the trinity is a suite of three trios that express my personal interpretations of the holy trinity. Using three sets of trios of similar instruments, the piece uses each trio to focus on a different member of the holy trinity. |
(12’) for oboe, oboe, and English horn; trombone, trombone, and euphonium; violin, violin, and viola (2022)
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Now and Then
When I visited St. Olaf College as a high schooler, my mom joked that we would need another page to write all the relatives of mine who also went there. Sometimes, as I walked around the campus that I loved so much, I imagined what it would have looked like before World War II, when both my grandparents were students. I wrote this piece for my dear uncle Steve Coates and "relly" (my dad's cousin) Ruth Legvold, as a reflection of my time, their time, and my grandparent's time. |
(4') for French horn and piano (2022)
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To Land
Originally devised as an outdoor installation, To Land is a string quartet with two movements. Take this music with you on your favorite trail, and enjoy the outdoors! |
(20') for string quartet (2020)
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Who Doesn't Want the Sun?
This is a piece for jazz trio inspired by this Mary Oliver poem. |
(3’) for jazz combo (2020)
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Gravity
This is a piece for solo improvised accordion to convince my my mom it's a real instrument. |
(3’) for solo improvised accordion (2021)
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Being Aware
Do you ever just feel completely aimless and then suddenly it all becomes clear? In a bad way? That's the vibe here. |
(5’) for solo marimba (2020)
Written at Curtis' Summerfest 2020 for Arx Duo.
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The Sly Fox
Ooooooh... a piece about fake news from 2017?? Incredible. |
(3’) for piano, cello, viola, violin, and flute (2017)
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A Simple Stroll
A little piece about a little walk on a rocky, pebbly path. |
(2') for soprano saxophone, piano, and violin (2018)
Written for members of the International Contemporary Ensemble at Walden's Young Musicians' Program in 2018.
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LOBES
Each instrument or set of instruments in this piece represent a lobe of the brain. The piano is the frontal lobe, which is associated with reasoning, motor skills, and the processing of emotions. The percussion instruments represent the parietal lobe, which processes sensory information and physical movement. The soprano voice represents the temporal lobe, dealing with memories and processing of auditory stimuli. The flute is the occipital lobe, which receives and interprets visual stimuli. |
(6’) for piano, percussion, flute, and soprano (2018)
Written at Walden's Young Musicians' Program.
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Papers
What would happen if I stuck a bunch of pieces of paper in a piano? |
(3’) for solo piano (2019)
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Heavy Upon You
This was more of an experiment for me; I wanted to give a performer as much freedom while still using "traditional" notation. It was incredibly interesting to open the conversation so freely. |
(2’) for solo piano (2020)
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She Leaves
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(4’) for string quartet (2017)
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Multiflorae
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(2’) for woodwind choir (2018)
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for my grandfather
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(1’) for string nonet (2020)
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for my grandmother
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(1’) for wind ensemble (2020)
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