© 2019 by James Borchers.

Seattle, WA 98106

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Shifting in Stillness

for Violin, Cello, Zheng, Erhu, Percussion

 

ca. 8 minutes.

Premiered by the Vancouver Intercultural Orchestra, Vancouver, BC

July 2017

Shifting in Stillness was written in the summer of 2017 for the VICO summer festival. It was premiered on Canada day by VICO in North Vancouver, BC.  

Addressless Letter #1

for solo violin

 

ca. 9 minutes. Premiered by Billiana Voutchkova 

at Brandeis University in 2007. 

Addressless letter was written in spring 2007.

I like to think of this piece in terms of multi-dimensional time, with fragments or outbursts that fly by in an instant, and soft echoing harmonic lines that transcend the entire piece. For me, I was interested in depicting a sense of longing, of things never said, moments of over statement, and hints, echoes, and remnants of a wish that never was.‚Äč

God Particles
for flute, clarinet, guitar, piano, percussion, and electronic sound

 

ca. 10 minutes. Premiered by International Contemporary Ensemble (ICE) at Slosberg Hall, Brandeis University, Waltham, MA, December 2010. 

I am often intrigued by concepts from other disciplines (arts and science) as a means of generating musical ideas. While working on God Particles I was struck by an article I read about the various setbacks researchers have had at the LHC lab in CERN in their quest to discover the “God Particle.” Two scientists have suggested that the reason for the setbacks (which they claim they can prove mathematically) is that energy or particles from the future are traveling back in time to prevent the discovery of the God Particle rendering it “abhorrent to nature.” I became interested in composing a series of short movements that have an obscure relationship to each other in which I envisioned pitches or other musical elements traveling back in time to destroy the present.

 

Mirador

for chamber orchestra

 

ca. 9 minutes. Premiered at the Wellesley Composers Conference, Wellesley, MA, July 2008.

Mirador was written in the spring of 2008 and premiered at the Wellesley Composers Conference that summer conducted by Jim Baker. The piece was inspired by a visit to Teotihuacán near Mexico City. The structure follows an increasingly dense and layered format arriving at a plateau or viewpoint, a space for listening and reflection.   

JAMES BORCHERS

COMPOSER & SOUND ARTIST