September 12, 2015
I was so pleased and surprised the outstanding Duo Harpverk performed my work “The Old Cellar” at their annual concert at Cafe Rosenberg on September 8th in Iceland. The Old Cellar is a fairly short minimal-esque fantasy which was specifically composed for and dedicated to Duo Harpverk — the two performers being Frank Aarnink and Katie Buckley. The score, as with all my scores, was pretty bare in terms of instructions, but DH interprets it beautifully (twice performed previously this year). I hope to work with them more in the future.
August 2, 2015
“The first piece is Currents and this piece begins with a series of fast trills that roil and surge like a river” Read full review
June 19, 2015
“With this collection J.C. Combs revels in the splendor of lush tones.” – Beach Sloth Read full review
January 24, 2015
Pleased to announce the premiere of The Old Cellar, a piece written for percussion and harp – scheduled to be performed Friday, February 6 at 9:00pm UTC, Reykjavík, Iceland by Duo Harpverk. Frank Aarnink and Katie Buckley are the two members of the duo (also members of the Icelandic Symphonie Orchestra). Duo Harpverk has performed in many excellent venues, including here in the states at The Kennedy Center.
“During the Icelandic Museum Night we will play our ‘Passport’ concert. This concert has pieces from all over the world, including the 100th piece ever written for us! Come hear all world premieres by J.C. Combs (USA), Michiharu Matsunaga (Japan), David Otten (NL), Nicolas Marty (France), and Alexander Sigman (USA).” – Duo Harpverk
January 13, 2015
It was refreshing to see a review of a work I posted to Soundcloud as a dedication to my friend, Paul Muller. Paul happens to be a huge Steve Reich fan and creates minimalist-style works as well, hence the dedication. This was the first piece in the study and for this one I chose to base the method off of Reich’s Clapping Music in conjunction with other methods. So perhaps not true to the phasing of tempo adjustments which I will address in further studies.
“The driving pulse of the music has the busy urban nightscape quality of Reich’s early works in this manner, where musical lines of close derivation create sonic moiré patterns.” – Disquiet
April 27, 2014
March 30, 2014
March 24, 2014
we are strolling down a familiar street at night, perhaps in the fog, the lights from the lamp posts providing little pools of welcome illumination. The texture, however, morphs into a less distinct rhythm as the opening section progresses, and a more alien, metallic feel creeps into the tones of the upper registers. Now little gusts of wind are heard – the landscape has changed to the less familiar, even as we continue walking tentatively forward. – Chain D.L.K (full review here)