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Performances of recent works by Curtis K. Hughes in Somerville and Medford, Massachusetts, on May 10 and May 11, 2019.




more info...



piano, percussion




Recorded in 2002 at 7A West Studios, Charlestown, MA.
Primary Duo: Sarah Bob - piano; Aaron Trant - percussion

from the album AVOIDANCE TACTICS (Cauchemar CD001). Download available for purchase from the iTunes store. CD available from the store.


Full Score PDF (for perusal only)
(Contact the composer to obtain alternate formats, performance parts, etc.)

Program Notes:

I began work on AVOIDANCE TACTICS #1 (original version) in the summer of 1999 in Aspen, CO, while also working on a quartet for saxophones. In both works I was preoccupied with trying to reconcile aspects from numerous of my own diverse musical interests within the framework of a single, unified composition, including the energetic, dense improvisations of jazz pianist Cecil Taylor, the cyclical structures of Balinese gamelan, and the constructive use of both noise and silence found in John Cage's music. Originally, the piece was to have been dominated almost entirely by percussion, with the piano taking the role of just another percussion instrument. Instead, the piano part eventually became the focal point of the music, but the piano writing retains the character of what Cecil Taylor once called an '88-note drum,' with very little traditional 'pianistic' behavior. The music is in two large sections of contrasting but related characters, linked by a very brief lyrical solo piano interlude, and also contains very short passages of controlled improvisation for both instrumentalists. Since giving the premiere performance in 2000, Sarah Bob and Aaron Trant, the two most devoted interpreters of my music I have ever been fortunate enough to work with, have frequently performed the piece and have refined their interpretation until it has become infused as much with their respective musical personalities as with mine. The music also exists in a version for piano and prerecorded electronic sound.