Sasha Zamler-Carhart — Composition

Opera/Oratorio/Dance

Sponsus (Toulouse 2012) 1h20

I Fioretti in Musica (New York 2010) 60'

Le Roman de Fauvel (The Hague 2009) 2h

An oratorio about a barn horse who turns out to be the Antichrist and attempts to take over the world, and about the resulting struggle between vices and virtues. The story is delivered in 48 short allegories grouped in five acts, and is a complete rewriting of the 14th-century epic bearing the same name. For six singers, baroque chamber orchestra and percussion.

Le Pli (Amsterdam 2012) 60'

Percussion/Piano

The Death of the King of Bandjoun (The Hague 2006) 40'

Restatement of the Doctrine of Preparation (2015) 1h30

Winds/Organ

Saxophone Quartet No. 1 "Yukiguni" (Hiroshima 2013) 15'

Saxophone Quartet No. 2 "Frullatore" (Hiroshima 2014) 7'30

Saxophone Quartet No. 3 "Disco Night at the Visconti Court" (Hiroshima 2015) 5'30

Een nieuu musyckboexken (Amsterdam 2005) 19'

Music for Two Recorders (The Hague 2008) 11'

Missa Ioannis Damasceni (Amsterdam 2007) 9'

Strings/Harpsichord

Livre de pièces de clavecin (Tokyo 2014) 40'

St. Francis String Quartet No. 1 "The Birds" (New York 2012) 6'

St. Francis String Quartet No. 2 "The Wolf" (New York 2012) 17'

Chamber/Electronic

The Unexpectedly Retarded Tuna (Tokyo 2012) 3'

Worte ohne Lieder (Maastricht 2006) 5'

KaZoo (London 2004) 5'

300

In the medieval original, the barn horse Fauvel—who is in fact the Antichrist and an allegory of all vices—sets out to conquer a depraved world corrupted by pride.

The modern version does not update the moral allegory of its medieval predecessor because it is still valid: the vices are still trying to take over a world corrupted by pride—and they are succeeding.

The piece keeps the name of the original Roman de Fauvel and mixes newly composed material with historical material. In doing so, it draws attention to the discrepancy between modern and medieval notions of authorship and proposes a reflection, consistent with its subject matter, on the need for individuality in contemporary music, and more generally on the place of pride in composition.