Musical compositions – Repertoire Web http://www.repertoire-web.com/ Tue, 10 May 2022 23:44:32 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 http://www.repertoire-web.com/wp-content/uploads/2021/10/cropped-icon-32x32.png Musical compositions – Repertoire Web http://www.repertoire-web.com/ 32 32 Compositions inspired by the sounds of ice http://www.repertoire-web.com/compositions-inspired-by-the-sounds-of-ice/ Tue, 10 May 2022 23:44:32 +0000 http://www.repertoire-web.com/compositions-inspired-by-the-sounds-of-ice/

Kayaking the Antarctic Peninsula has helped a young woman take her music to the next level – and to audiences around the world.

On Thursday from 6-7.15pm, the Christchurch-based Antarctic Heritage Trust will present Ihlara McIndoe’s five compositions, inspired by her 2020 ice expedition.

A musical journey to Antarctica, an online concert for a global audience, will feature performers Mark Menzies, Professor of Music and Head of Performance at the University of Canterbury on viola and violin, UC performance students Mekaela Fleener at violin and Marlene Cooper on flute, and Chris Everest of the New Zealand School of Music on guitar.

McIndoe, composer-in-residence for the NZSO National Youth Orchestra for 2021, traveled to the Antarctic Peninsula on an inspiring expedition for Antarctic Heritage Trust explorers in 2020.

While there, she collected sound samples from her travels, including sounds of ice, wind, water, and wildlife.

McIndoe, 24, said the experience gave her a new appreciation for how music and exploration can combine to inspire.

“The whole experience was completely emotional.

“I was fueled by the conversations we had during our travels and the feeling of how small humans are, but how big our impact can be on this earth.

“I really wanted that to resonate in these compositions and for those listening to really get a sense of what it’s like to be in Antarctica, while encouraging people to think about preserving and exploring our world. natural.”

The compositions are accompanied by visuals of Antarctica, which were captured by renowned filmmaker and photographer Anthony Powell.

• To watch the concert online, sign up to receive the live stream link here.

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A music teacher releases 2 albums of original compositions http://www.repertoire-web.com/a-music-teacher-releases-2-albums-of-original-compositions/ Mon, 09 May 2022 15:58:00 +0000 http://www.repertoire-web.com/a-music-teacher-releases-2-albums-of-original-compositions/ May 9, 2022

Brian DeMaris, Associate Professor and Artistic Director of the Musical Theater and Opera Program at Arizona State University’s School of Music, Dance, and Theater, is an acclaimed conductor, pianist, and composer. This year, with the release of two albums of original compositions, he adds solo artist to his title.

“In addition to teaching, I try to make sure that I continue to work and grow as a complete artist and explore all the parts of myself that bring me fulfillment,” said DeMaris. “When one area challenges me, I can always find creative inspiration or solace in another area, as I’m most fulfilled balancing and doing them all.”

ASU Associate Professor Brian DeMaris.
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DeMaris said he composes whenever he has the time, and COVID-19 plus a sabbatical prompted him to record his complete works.

As part of his sabbatical project, DeMaris intended to record all of his song compositions. Ultimately, these ended up on his second album, “Gratitude – Songs for Voice and Piano”. The improvisations on his first solo album, “Journey – Improvisations for Solo Piano,weren’t originally part of the plan.

“‘Journey’ was created entirely by chance,” DeMaris said. “This album is a reflection of my own journey, and artistic proof that you never know where life will take you. Everything is improvised. »

DeMaris describes “Journey,” released in December 2021, as a “musical and visual travelogue of the past 15 years, a journey from East to West.”

DeMaris began the project in November 2020 when, during a creative production slump caused by the pandemic, he sat down at the piano in an effort to rediscover the times he spent in his youth sitting at the piano and improvising.

By February 2021, he had recorded more than 100 completely spontaneous improvisations, backing up each with a photo chosen at random from past travels. In the summer of 2021, he selected 16 pieces, arranged them in the order the photos were taken, named them, and came up with “Journey.”

“Journey” takes you from the ancient city of Jerusalem to the Gulf of Alaska and the wonders of the Grand Canyon.

DeMaris describes her second album, “Gratitude,” which was released May 1, as “all the songs I’ve written in the past 20 years, performed by friends, colleagues, and former students.”

The inspiration for “Gratitude,” he said, was simply to catalog his work after 20 years of composing alongside his career as a performer and teacher. The title is inspired by DeMaris’ feelings for all the artists who have helped bring this music to life, he said, and represents the approach he has taken to creating opportunities for himself and for the others over the past two difficult years of COVID-19.

Some plays were completed and performed two decades ago, some were originally created years ago and completed during his sabbatical, and some were written during his sabbatical.

Recently Grammy-winning Zachary James opens the album with bass vocals on “Ithaka.” This is followed by six pieces based on the works of poet Edna St. Vincent Millay which DeMaris composed in his early twenties. The “Sephora Songs” were collected and crafted over a period of a few years and completed during her sabbatical. The “MacArthur Songs”, the second of which was begun in his youth, were also completed during his sabbatical. “The Portrait of Dorian Gray,” based on Oscar Wilde’s novel, is an as yet unfinished musical written with author and lyricist Daniel Jurman for Ephrata Playhouse in the Park, where DeMaris received his theatrical education. The last three pieces are products of the solo piano improvisations of “Journey” that turned into compositions.

A self-proclaimed classical pianist, DeMaris performed recitals, competitions, and musical theater throughout high school and college. In college, he discovered opera.

“The opera mixed everything that I love: classical music, drama, collaboration, languages ​​and also the visual elements,” DeMaris said. “After learning the repertoire and the craft on the piano, I eventually started directing and directing music and then producing. Leading, coaching and collaborating go hand in hand with teaching, so it’s all been part of my day-to-day since the very beginning. Composing, while infrequent, really informs all of my work and provides me with an outlet where I can create my own music.

DeMaris is also the Principal Conductor of the Anchorage Opera House in Alaska.

DeMaris’ albums are available on Spotify, iTunes, Pandora and YouTube.

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Music Composition Graduate Finds Her Own Unique Voice With Sound Ecosystem Compositions http://www.repertoire-web.com/music-composition-graduate-finds-her-own-unique-voice-with-sound-ecosystem-compositions/ Wed, 04 May 2022 18:10:00 +0000 http://www.repertoire-web.com/music-composition-graduate-finds-her-own-unique-voice-with-sound-ecosystem-compositions/ May 4, 2022

Editor’s note: This story is part of a series of profiles of notable Spring 2022 graduates.

Ariana Afshari plays a student of the modern Renaissance – scientist, researcher, philosopher, historian and artist.

Ariana Afshari is a scientist, philosopher and artist. This spring, she is graduating with a Bachelor of Science in Biological Sciences (neurobiology, physiology and behavior) and a minor in Civic and Economic Thought Leadership. Photo courtesy of Ariana Afshari.

A major in biological sciences in the School of Life Sciences focusing on neurobiology, physiology, and behavior, she also minored in civic and economic thought leadership. Then, at the height of the pandemic in August 2020, Afshari decided to push the boundaries even further and explore a whole new discipline – she started to paint.

Art opened a window to new techniques for analyzing and expressing history, science, politics and philosophy – combining one’s passions and bringing them to life in 3D.

One of his canvases now hangs on the School of Civic and Economic Leadership Coors Texts Reading Room, which became one of Afshari’s favorite places to study on campus.

“It has a quaint design with chess, antique lighting and is an intimate place to catch up with friends, enjoy the classic literature they display on their shelves or focus on your studies,” she said.

The painting, a 60-inch by 40-inch canvas wall art, is inspired by “The School of Athens” by Italian Renaissance artist Raphael. Standing in the precise mathematical architecture alongside Plato and Aristotle are other important figures including Abraham Lincoln, Gandhi, Elizabeth Cady Stanton, Cesar Chavez, Frederick Douglas and Frida Kahlo.

In light of her many accomplishments, this multi-faceted researcher and artist has been selected as this semester’s laureate. Dean’s Medal by the College of Liberal Arts and Sciences.

This prestigious honor recognizes graduate students who have demonstrated outstanding academic excellence during their time at ASU. In addition to his artistic talents, Afshari has contributed to research in developmental neurobiology, mathematical neuro-oncology and neurosurgery.

She also served as Director of Health and Wellness for Undergraduate Student Government, where she illustrated and published an interactive children’s guide to COVID-19.

After graduation, she plans to participate in developmental neuroscience research at Stanford Medical School and teach biology with Teach for America.

We had the chance to ask Afshari a few questions about his time at ASU.

Responses have been edited for length and clarity.

Question: When did you realize you wanted to study neuroscience?

To respond: Neuroscience itself is an incredibly versatile field of study, which makes it so rewarding for students who enjoy bouncing between disciplines in academic and research spaces. For me, my ‘aha’ moment was long-time exposure to what neurobiology looks like in practice – learning about neural firing mechanisms in the classroom, applying that biology in a lab I worked in at the Mayo Clinic to study mathematical neuro-oncology, to engage in neurosurgery with patients exhibiting the clinical phenotypes that I had, in textbooks and in the workplace, studied. That’s how I finally knew that I loved studying the brain, in all areas: in school, in research and in the clinic.

Q: Why did you choose ASU?

A: I grew up just south of ASU in the Valley, so there was always an incentive to stay close to my friends and family, and my four-year-old little sister in particular. However, I was lucky enough to receive a scholarship that covered my tuition and accommodation for the four years. I knew I would be able to gain a truly comprehensive ASU experience and pursue opportunities suited to my professional goals with this degree of financial assistance, which was the primary factor in my decision to go to ASU.

Q: What did you learn at ASU that changed your perspective?

A: I learned at ASU the importance of asking, “Can you make room for me?” or “Can I have _____ opportunity?” Arizona State University is the kind of university that offers students endless opportunities to explore internships and research experience, but what isn’t advertised is how many opportunities you can create for yourself. I’ve made a habit of standing up for myself and asking teachers and professors to make room for me or connect me with someone who can make my dream job possible. Learning the power of self-representation is what transformed my ASU experience, when I realized the ceiling wasn’t the sky.

Q: What is your life-changing lesson from a professor at ASU? Which professor taught you the most important lesson at ASU?

A: The Director of the School of Civic and Economic Thought and Leadership, Dr. Paul Carrese, mentored me throughout my college career at ASU, always advocating for my success, but one of the life lessons he shared with me still stands out. I came to him to ask how I could balance pursuing my career while pursuing personal happiness. He responded by telling me the story he used to read to his children about how a colony of mice worked hard every summer to gather enough food to survive, while one mouse wandered – collecting sun rays, colors and words. By the time the mice had to use their food supply during the cold months, it ran out and the mouse that sought out intangible experiences was able to distract them with stories to survive the winter. It taught me the importance of chasing experiences, not accolades, and finding meaning and mentorship, not money and prestige, so that I, too, have something substantial to go through. the “winters” of life.

Q: Were you able to participate in any internships or research experiences while at ASU?

A: I had the good fortune to participate in many internships and research experiences at ASU. I was fortunate enough to be part of a lab studying developmental neurobiology here at ASU during my college years and eventually became involved in a second lab studying mathematical neurosurgery at Mayo Clinic. Through these research experiences, I have been able to both contribute to multiple scientific manuscripts and present my work at local and national conferences. I also served as Director of Health and Welfare for Undergraduate Student Government and was honored as Scholar of the Spirit of Service. Additionally, I have always worked with Teach for America to help 2nd and 3rd grade classes through their IGNITE scholarship and participated in a year internship at Phoenix Children’s Hospital.

Q: What is the best advice you would give to those still in school?

A: If I could offer any advice to current students, I would tell them to look for two things in all their academic endeavors: real challenge and real inspiration. They should take the time to find out which communities or fields of study inspire them and begin to create a toolkit of opportunities and experiences that best suit their interests and narrative. I think it’s a valuable skill to be careful and intentional with what you spend your time on, so that you’re not only doing them well, but taking away something valuable for your own story.

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AR Rahman Vs Amit Trivedi, who has the best musical compositions? http://www.repertoire-web.com/ar-rahman-vs-amit-trivedi-who-has-the-best-musical-compositions/ Wed, 04 May 2022 17:15:59 +0000 http://www.repertoire-web.com/ar-rahman-vs-amit-trivedi-who-has-the-best-musical-compositions/ In the Indian music industry, AR Rahman and Amit Trivedi are two of the best known and most admired composers and performers. Both have left an indelible mark on the music industry with a long list …]]> ” class=”lazy img-responsive” data-src=”https://www.iwmbuzz.com/wp-content/uploads/2022/05/ar-rahman-vs-amit-trivedi-who-has-the- best-musical-compositions-3-920×518.jpg” width=”920″ height=”518″ alt=”AR Rahman Vs Amit Trivedi, who has the best musical compositions?” />

In the Indian music industry, AR Rahman and Amit Trivedi are two of the best known and most admired composers and performers. Both have left an indelible mark on the music industry with a long list of songs that never fail to captivate us. If Rahman wowed us with songs like Dil Se Re, Yeh Jo Des Hai Tera, Rehna Tu, Kun Faya Kun and others, Trivedi wowed us with Zinda, Manjha, Pashmina, Naina Da Kya Kusoor and many more .

Aamir Khan’s film Aamir Khan was the first for which Bollywood music director Amit Trivedi wrote music (2008). But it was with Anurag Kashyap’s Dev D (2009) title track, Emotional Atyachaar, that he really made his mark. Amidst the disco-sounding popular Bollywood music (think a normal party song), there was this raw, edgy melody that reflected the character’s confusion. Since then, Amit has composed music for several popular films, including Ishaqzaade, Lootera and Queen. AR Rahman gave Amit his stamp of approval for his ability to handle a variety of genres including metal, jazz, folk, Punjabi pop and rock.

There is a large group of music fans who will always have Rahman and Trivedi songs on their playlists. After all why not ? Both have a way of uplifting our minds and spirits. Amit Trivedi and AR Rahman both helped us tremendously. These days, Kun Faya Kun & Zinda Hu Yaar have been our permanent state of mind. Is not it?

But, if you had to listen to only one artist for the rest of your life, who would it be between AR Rahman and Amit Trivedi?

We know it will be difficult, but “Zindagi ki mazaa to khatte mein hi hai”, as Gulshan Grover says. Please vote in the poll below to let us know which option you prefer:

Source: koimoi

Vote now

Also Read: From Jatin-Lalit to Pritam Chakraborty: Here Are Some of Bollywood’s Best Music Directors

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Dexter Community Band presents the world premiere of two compositions for the 40th anniversary concert http://www.repertoire-web.com/dexter-community-band-presents-the-world-premiere-of-two-compositions-for-the-40th-anniversary-concert/ Tue, 03 May 2022 16:32:58 +0000 http://www.repertoire-web.com/dexter-community-band-presents-the-world-premiere-of-two-compositions-for-the-40th-anniversary-concert/ This post expresses the views and opinions of the authors and not necessarily those of The Sun Times News management or staff.

Dexter Community Band presents the world premiere of two compositions for the 40th anniversary concert

DCB’s free spring concert will be on Sunday, May 15 at 3 p.m.

DEXTER, Michigan, May 2, 2022 — The Dexter Community Band celebrates 40 years
anniversary on Sunday May 15, with the world premiere of two original pieces of music.

Gichigamiin: The Five Freshwater Seas was commissioned by the band and written by Satoshi Yagisawa, a Japanese composer internationally known for his dramatic musical scores. Taking its name from the Native American Ojibway word for the Great Lakes, Yagisawa was inspired by the vivid landscapes, atmospheres and maritime folklore that surround Michigan.

The group will also perform the Dexter Community Band March composed by Dr. Max Plank, longtime Chelsea resident and retired music teacher and band director from Eastern Michigan University. Dr. Plank, who composed the march to celebrate the band’s 40th anniversary, will be on hand to direct the piece.

“This is an important milestone for our group,” said manager William W. Gourley. “We wanted to celebrate in style by giving our loyal viewers something special. I am extremely grateful to Mr. Yagisawa and Dr. Plank for bringing their international and local talents to help us showcase this moment.

J. Nick Smith of Eastern Michigan University will serve as concert announcer. Smith is an Associate Professor, Associate Director of Groups and Director of Sports Groups at EMU.

Also on the program The Magnificent Seven by Elmer Bernstein; The Cowboys by John Williams; Arizona by Franck Cesarini; and To tend to, a play by Robert W. Smith dedicated to health professionals.

The 3 p.m. event will take place at the Dexter High School Performing Arts Centre, 2200 North Parker Road, Dexter. In accordance with Washtenaw County guidelines, social distancing from family groups is recommended. Although wearing a mask is optional, a reserve of masks will be made available.

Formed in 1982 by Chris Wall, director of community education programs at Dexter, the group began with 11 members under the leadership of University of Michigan education professor Dave Angus.

Since then, the band has become a staple of the Washtenaw community music scene with approximately 85 musicians. In addition to four concerts a year, band members perform in smaller ensembles at local senior centers and participate in numerous other music groups.

Under Gourley’s direction, the band toured Europe extensively in the summer of 2001, performing in Vienna, Zagreb, Venice, Verona and Florence. The band toured Ireland in the summer of 2016 with gigs in Dublin, Killarney and Galway.

Founded in 1982, the Dexter Community Group
is made up of volunteer musicians from the region. A registered 501(c)3 nonprofit organization, the band performs professional-level symphonic wind music at four free concerts a year. There are also several free “Soirées d’Ensembles” featuring small groups of the band. For more information about the group or how to provide financial support, please visit
http://www.dextercommunityband.org/.

Contact:

Karla Linkner

734-426-2734.

or

Todd Nissen

313-303-7594

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Review: Prior conducts premiere of Glass and other new compositions http://www.repertoire-web.com/review-prior-conducts-premiere-of-glass-and-other-new-compositions/ Sun, 01 May 2022 20:15:20 +0000 http://www.repertoire-web.com/review-prior-conducts-premiere-of-glass-and-other-new-compositions/

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“Our living composers are the torchbearers of the future,” said conductor Alexander Prior during a scintillating concert at Winspear on Friday evening.

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There was no coughing or rustling all evening – instead, sustained attention and considerable enthusiasm, showing that there really is a demand for this kind of new and recent music.

Some had come out of curiosity. Some had come because they knew it was probably their only chance to hear a live symphony by Soviet composer Galina Ustvolskaya. Some had come to listen to new music from four truly talented Canadian composers.

It was a cornucopia of a concert, covering the full range of extreme emotions, and including beautiful solos. Timpani Barry Nemish filled the hall with a virtuoso solo performance of Peter Eötvös’ Thunder for Bass Pedal Timpani. Megan Evans showed what an excellent horn player she is — what a beautiful lyrical tone — in Nielsen’s Canto serioso for French horn and piano, here sympathetically orchestrated by Prior himself, with some bright Nielsen touches.

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Barry Nemish delivered a timpani solo with ESO while Alex Prior conducted on Friday night.
Barry Nemish delivered a timpani solo with ESO while Alex Prior conducted on Friday night. Photo by Eric Kozakiewicz /Provided

Solo violinists Ewald Cheung and Yue Deng floated above the orchestra in Reich’s poetic duet for two solo violins and string orchestra, as if the minimalist composer was inspired by Vivaldi’s blend of soloists and orchestra.

Only Philip Glass’ Prelude and Dance from his opera Akhnaton, which opened the concert, was oddly muted, apart from DT Baker’s effective narration. Surprisingly, this was ESO’s first time playing Glass; it can be notoriously difficult music to play, but it required a wider dynamic range.

Nicole Lizée’s three-minute Zeiss After Dark, the only work from the concert that ESO had performed before, dazzled, though I’m not as convinced as Prior that it’s more than an occasional piece.

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The concert, however, was dominated by three works by three female composers, music of such power and effect that it seemed to cover all the zeitgeist of our troubled times.

The first was A Child’s Dream of Toys by Edmonton-born Vivian Fung. His music has truly matured into a powerful, individual idiom over the past few years, and this 11-minute work is an intense virtuoso masterpiece for orchestra. As its title might suggest, there’s the messy frenetic energy of a small child, dazzling in its bright colors and charged orchestral textures.

In the middle, this energy seems to drain almost completely, as if the child had fallen asleep, with sounds resembling the snoring of double basses and brass. A few whistles wake everyone up, but things stay magical, until the opening vibe returns.

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The music really penetrates the cluttered world of dreams and toys. I remembered Where the Wild Things Are, but there’s nothing sentimental or pseudo-romantic about it. He delights in bright and frank colors, joyful and honest. It is indeed the music of our time.

Opposite, but complementing it so well, is the premiere of a new work by fellow Edmonton-born composer, Alissa Cheung. Impressions is a haunting, magical, fascinating, slow combination of silent orchestral textures that build almost imperceptibly to a conclusion of tremendous emotional power.

It is built on the simplest materials, including a three-note chorale-like figure in the brass. It could be a seascape – certainly it feels very Nordic with its notes of whale cries and seabird calls deep in the orchestral textures at the opening. Finally, at the end, the three-note brass figure is heard again, and with all instruments silent, the entire orchestra hums the three notes. It is an extraordinarily moving moment.

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Everything that happens in the piece, even if it’s not planned, seems to happen effortlessly when it should – the hallmark of the best songwriters. Surprisingly, given his orchestral mastery, this is Cheung’s first orchestral piece.

Finally came Ustvolskaya’s 13-minute Symphony No. 5 for five musicians and a narrator, here Prior dramatically reciting the Lord’s Prayer in Old Church Slavonic. It is one of the most terrifying pieces of music ever written, relentless in its musical dissection of the horrors of the world. It’s as if Stravinsky’s Story of a Soldier had turned into a post-holocaust fatality where death knocks at the door. Indeed, Death seems to be doing just that in the constant gruesome banging of hard mallets on a specially constructed wooden box. A wonderful and heartbreaking performance from everyone.

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These three plays seemed to encompass our times: sparkling but harsh and complex joy among the Fung, mediation and peace and perhaps a sense of possible despair among the Cheung, the horror that seems to reflect the terrible events in Ukraine in the Ustvolskaya. Together they seemed to echo that classic Greek idea of ​​the wisdom of women’s ages: the young woman to Cheung, the mother to Fung, the old grandmother to Ustvolskaya.

Luckily, the ESO records the Cheung in May. But it’s a concert that should have been broadcast nationally, to show what torches carry our extraordinary new generation of Canadian composers, and the orchestral forces that ignite them.

yegarts@postmedia.com

REVIEW

Edmonton Symphony Orchestra ‘Glass’ Concert

Driver: Alexander Prior

Soloists: Ewald Cheung, Yue Deng, Megan Evans and Barry Nemish

Or: Winspear Center

When: April 29

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UMD students perform original compositions for New Music in Maryland http://www.repertoire-web.com/umd-students-perform-original-compositions-for-new-music-in-maryland/ Thu, 28 Apr 2022 04:00:00 +0000 http://www.repertoire-web.com/umd-students-perform-original-compositions-for-new-music-in-maryland/

By Freddy Wolfe
For the Diamondback

The University of Maryland spotlighted original compositions in “New Music at Maryland,” a concert featuring works created by student composers, on April 18.

The concert, held at The Clarice’s Gildenhorn Recital Hall, featured original works composed by the music school‘s music composition majors.

The first half of the show consisted of five solo pieces composed by four different students. One such student was Sean Kim, a freshman in cello and music composition.

[School of Music faculty perform pieces celebrating Jewish culture and history]

“It was definitely a very surreal experience,” Kim said. “It was the first time that my compositions were performed live in front of a very large audience.”

Kim performed her piece “Theme and Variations for Solo Cello” and had her piano composition, “New Beginnings,” performed by graduate piano student Leili Asanbekova at the concert.

“It’s very important for a composer to hear his work played in front of an audience. It’s very important for performers to play new pieces that they don’t necessarily know,” said Professor Thomas DeLio, organizer of the show.

Dennis Erickson, a sophomore in music composition, also performed his own original composition, “Contour,” during the show.

“It was more of an experiment to see how weird I could get with it, but also make it…still palatable,” Erickson said.

[UMD alum Eric Maring brings young musicians together with Beatles classics]

After an intermission, the second half consisted entirely of a five-movement piece composed by lecturer William Kenlon. Kenlon’s composition, “Desire Paths: Chamber Symphony for Double Wind Quintet and Piano”, was his doctoral thesis, which he received from this university in 2017.

Kenlon came up with the idea for the piece after discovering the paths of desire, which in urban planning is a path created by the continuous use of the shortest or most easily navigable route to a destination.

“The piece is my attempt to explore the idea of ​​a path of musical desire, where there is a main idea that makes its way through the piece…even if it is beset by a number of impedances in along the way,” he said.

It was the first time “Desire Paths” was performed live.

Kenlon stressed the importance of this opportunity for young composers to see their work performed.

“Playing your work live is a better teacher than taking any class,” he said. “You’re going to learn a different set of things from performing this than you would learn from just writing it.”

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Indonesian Gamelan music show with US debut of 5 new compositions http://www.repertoire-web.com/indonesian-gamelan-music-show-with-us-debut-of-5-new-compositions/ Wed, 27 Apr 2022 16:10:25 +0000 http://www.repertoire-web.com/indonesian-gamelan-music-show-with-us-debut-of-5-new-compositions/
Photo by Brendan Bannon

I must say that I am fascinated by this new movement of gamelan music in Buffalo. Maybe it’s because I’ve been following the epic adventure of Matt Dunning (Artistic Director, Gamelan Sari Raras Irama), since his return to Buffalo in 2013.

Rarely do I meet someone who is not only passionate about starting a movement, but is able to do it with such zeal and courage…. in a relatively short period of time. After all, we’re not talking about a small feat here – we’re talking about a Herculean lift that saw Dunning and company transport 16,000 pounds of gamelan instruments to Buffalo from Indonesia. In the process, Buffalo – practically overnight – became one of the biggest hotbeds of gamelan music outside of Indonesia.

Photo of an audience during a performance
Photo by Brendan Bannon

And with the instruments come the complex and heartfelt compositions performed by masterful musicians who play handcrafted pieces ranging from saron and bonang, to gongs, drums, bamboo flutes, bow strings and plucked strings.

Adding to this excitement, Nusantara Arts has commissioned a number of Javanese composers to create new pieces that connect Buffalo and Indonesia in ways that must be heard (in person) to truly understand and appreciate.

Musicians from diverse communities in Central Java were encouraged to participate, creating an eclectic representation of participants and compositions.

“As an instrument and culture with deep historical roots, most gamelan pieces played today are akin to Western ‘classic’ pieces,” Dunning told me, according to the 12 Major New Works by Javanese Masters seasoned as well as newcomers.

Photo of children admiring a musician
Photo by Brendan Bannon

“It allows gamelan musicians to preserve important knowledge, skills and cultural moments. However, innovative contemporary Javanese composers are creating remarkable new works that push the boundaries of classical formats into new territories. Nusantara Arts wanted to be part of this movement and the important context and growth of this art form, which is why we commissioned these new pieces. We wanted the people of Buffalo to be seated front row for these important cultural moments, to create a dynamic connection between cultural events in Indonesia and our own community.

Composers were tasked with creating pieces that could be performed by any gamelan group in the world using standard notation and musical techniques.

The composers

Bambang Sosodoro Rawan Jayantoro, is from Klaten in Central Java, a region near Solo with many villages and a rich cultural tradition. He is a professor of Karawitan (Javanese music) at the Institute of Art Indonesia Surakarta but also spends much of his time performing with elite cultural institutions in Solo. He performs regularly as a court musician and composer at the Kraton Kasunanan and Pura Mangkunegaran palaces.

IM Harjito is one of the finest living Javanese musicians and a prolific composer of traditional and experimental gamelan pieces. A graduate of the State Conservatory of Traditional Performing Arts (ISI) in Indonesia, he worked closely with one of the major figures of 20th century Javanese music, Martopangrawit. He has led gamelan ensembles in Indonesia and the United States. He is currently a professor at Wesleyan University.

Untung Wiarso Warso Diprojo studied Karawitan (Javanese music culture) at the famous SMKI Solo Performing Arts High School and in his home village of Jagalan, a village famous for producing good gamelan musicians. He then studied wayang Kulit shadow theater at the Mangkunegaran Palace Art Academy. He gained considerable experience at Kraton Solo Palace, performing in villages around Solo, teaching karawitan at Chakra Home Stay, and playing with the Condhong Rumaos gamelan band. His musical mentor is Bapak Suyadi Tejo pangrawit and is inspired by a desire to preserve Javanese musical traditions

Emmanuel Yulius Henri Pradana from the village of Pucangsawit in Solo, started playing gamelan at an early age. He graduated from SMKI Performing Arts High School and Indonesia Institute of Arts. He plays with several gamelan groups such as Cahya Laras, Condhong Rumaos, Madangkara and Pujangga Laras. Henri is active as a court servant (abdidalem) of the Keraton Kasunanan where he performs gamelan music. He has many musical inspirations including Suwito Radyo, Sukamso, Surono and the late Slamet Subroto.

Yohanes Subowo is a gamelan composer from Yogyakarta, who has a unique style of Central Javanese gamelan compared to Surakarta (Solo) style. He holds a master’s degree in music composition from the Institute of Arts (ISI) in Surakarta and is known for his unique modern compositions and collaborations that bring gamelan practices from all over Indonesia for his COMOTAN project. He is also involved in the GUWOWIJOYO community which performs Javanese style music for the Ramayana ballet at the Prambanan temple theater.

Picture of gongs
Photo by Brendan Bannon

On Sunday, May 1, 2022, the community is invited to attend a concert featuring a series of five new compositions, performed for the very first time outside of Indonesia. Featuring a range of music – from traditional to contemporary – the compositions will include Sinugraha/Suka Sokur works by world renowned gamelan master IM Harjito, who will join Nusantara Arts for the performance.


Javanese Gamelan Music Show with special guest artist IM Harjito

With 5 new Javanese musical compositions make their American debut

Sunday, May 1, 2022

4-6 p.m.

Cost: Sliding scale

Nusantara Arts Performance Center @ St. Johns Grace Episcopal. 51 Colonial Circle, Buffalo, NY 14222

Nusantara Arts Website

Click for tickets

Program sponsored by the Cullen Foundation, Art Services Inc. and Erie County


Main image by Brendan Bannon

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Royal compositions to hear on Sunday http://www.repertoire-web.com/royal-compositions-to-hear-on-sunday/ Sat, 23 Apr 2022 08:30:00 +0000 http://www.repertoire-web.com/royal-compositions-to-hear-on-sunday/

PORT TOWNSEND — Concerti from the Court of Frederick the Great is scheduled for 2 p.m. Sunday at St. Paul’s Episcopal Church in Port Townsend.

The concert at 1020 Jefferson St. will feature special guest keyboardist David Schrader, along with Salish Sea Early Music Festival Artistic Director Jeffrey Cohan on baroque flute and chamber orchestra.

The program will include orchestral works by King Frederick the Great and other composers associated with the King of Prussia’s renowned musical establishment, Cohan said.

David Schrader on harpsichord, Elizabeth Phelps and Courtney Kuroda on baroque violin, Lindsey Strand-Polyak on baroque viola and Annabeth Shirley on baroque cello will also be present.

Masks and proof of mandatory vaccinations.

A donation of $15, $20 or $25 is suggested as a voluntary offering. Those 18 and under will be admitted free.

The music will include a concerti for flute by the flautist king himself and his flute teacher Johann Joachim Quantz, a concerti for harpsichord and flute by his court keyboardist Carl Philipp Emmanuel Bach and a solo harpsichord Ricercare by his father Johann Sebastian Bach. Bach had visited the king in 1747 and then presented this music as part of his musical offering, Cohan said.

Cohan also announced that he and Oleg Timofeyev had raised $2,017 in an immediate effort to help provide medicine and food as needed in Ukraine.

“We donated from our CD sales and many of our viewers made special donations for the duet variation on the Ukrainian national anthem on early 18th century instruments from all of our performances. The version performed Tuesday on Lopez Island can be heard at https://youtu.be/BHG8KjVatr0.

For more information on Sunday’s concert, see www.salishseafestival.org/porttownsend.

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Celebrating the unique sound of Harrison Birtwistle’s compositions | Harrison Birtwistle http://www.repertoire-web.com/celebrating-the-unique-sound-of-harrison-birtwistles-compositions-harrison-birtwistle/ Fri, 22 Apr 2022 16:41:00 +0000 http://www.repertoire-web.com/celebrating-the-unique-sound-of-harrison-birtwistles-compositions-harrison-birtwistle/

Thank you for your wonderful obituary of Harrison Birtwistle (April 18), Accrington’s oldest son (and I don’t forget Accrington Stanley’s top scorer Dave ‘Haggis’ Hargreaves).

Harri has never wavered from his principles. As a result, he did not succumb to the temptation – as other composers of his generation and new generation did – to occasionally write popular pieces suitable for Classic FM playlists.

Like Benjamin Britten, I walked out halfway through his Punch and Judy due to broken eardrums. But I was captivated by Panic, which bothered traditional ballgoers so much, The Minotaur (ranked by the Guardian as the third best piece of classical music of the 21st century) and many more of his productions.

None of Harri’s stuff is fun to listen to, but that’s pretty much the point. You have to fight to get through the thicket of sound to the underlying musical thought. At a time when so much “classical” music is intellectual mush (pardon me, Messrs. Einaudi, Rutter, Jenkins, etc.), Harri stood out as a giant.
Simon Lawton-Smith
Lewisham, London

Without the slightest fanfare, not to mention flamboyance, Sir Harrison Birtwistle has become one of the dominant figures in British music. He always said what he thought, revealingly and with a calm accuracy that was memorable. Decades ago, I participated in the staging of some of his works (for example, a student performance of Down by the Greenwood Side at Kingston Polytechnic) and wrote about his works. He always said things that enlightened and hit the nail on the head.

And he was great fun. Not long ago, after being ill, I attended a performance of one of his plays and then went backstage to talk to him. Before I left, I said to him, “You know, Harri, the doctor thinks I don’t have long to live. He looked me up and down and said, “You look good to me. Tell the doctor to fuck it.

One of the treasures of this country.
Meirion Bowen
London

While I agree with everything about Harrison Birtwistle in your obituary, it seems to me there is a serious omission in his accepted canon – his opera Yan Tan Tethera. My wife and I were at opening night on the South Shore in 1986 and it haunted us for years. Such a shame that it slipped into almost complete darkness – a magical, mystical piece that tugs at heartstrings.
Kay Smith
Leeds

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