Sarah Plum - an expanding distance of multiple voices (2026) [Hi-Res]

Tracklist

01. an expanding distance of multiple voices: I. Estatico e molto appassionato
02. an expanding distance of multiple voices: II. Sparso ed espansivo
03. an expanding distance of multiple voices: III. Molto delicatissimo ed etereo
04. an expanding distance of multiple voices: IV. Molto appassionato
05. an expanding distance of multiple voices: V. Maestoso
06. Olive Cotton
07. Canticle (in memoriam David Foster Wallace): I. Lento tranquillo
08. Canticle (in memoriam David Foster Wallace): II. Animato
10. Canticle (in memoriam David Foster Wallace): IV. Fluido
11. Canticle (in memoriam David Foster Wallace): V. Andantino
12. Moves and Remains
13. Elegy
14. Sirens

This recording grows directly out of a life lived in new music. Rather than a retrospective, it offers a snapshot in time: a record of how I currently inhabit these pieces, how I hear them, and how I hope they might continue to circulate among listeners, performers, and future generations. The program brings together long-term artistic partnerships and works I have lived with for decades alongside newer collaborations that have quickly become essential to my musical practice.
Several of these works reflect sustained collaborative relationships. Sidney Corbett’s Canticle extends a long-standing artistic dialogue and deep friendship. Mari Takano’s Elegy arrived unexpectedly as a gift—a gesture of trust and generosity I had long intended to document. Benjamin Fuhrman’s Sirens, introduced to me by a former student, is a work I have performed for nearly twenty years; it remains physically demanding, virtuosic, and consistently compelling.
The program also marks newer chapters and evolving voices. Osnat Netzer’s Olive Cotton, transcribed for viola from its original cello version, offered an opportunity to engage closely with her unique compositional voice. Tonia Ko’s Moves and Remains, encountered shortly after we both arrived in Chicago, is a work I have explored in depth and believe merits far wider attention. Finally, I chose to record Jeffrey Mumford’s an expanding distance of multiple voices—the sole work here with an extensive performance history—because I felt I could contribute a distinct, personal interpretive perspective to its complex and sensual landscape.
At its core, this CD is a meditation on interpretation and transmission. As both a performer and a teacher, I see recording as a means of carrying these works forward—preserving not only the music itself, but the relationships, histories, and questions embedded within it. In sending this recording into the world, my hope is that these works will continue to be heard, loved, and played.