Hypoxia - Read by the Toledo Symphony Orchestra. November 8, 2016.

Recorded during an unrehearsed reading session. Published with permission from the TSO.

Hypoxia is a musical narrative inspired by descriptions of near-death experiences. Combining the inner peace of the sufferer’s consciousness, the hyperactivity of his neurological system, and the urgency of the world surrounding him, Hypoxia juxtaposes simple tonal gestures with highly agitated rhythmic motives and atonal effects.

Hypoxia - Toledo Symphony Orchestra

LAKEY INSPIRED - Blue Boi

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Remix by Daniel Neumann, Sound Engineer of Alarm Will Sound, of Matt Marks performing "Spagliato" by Oren Ambarchi (arranged by Marcos Balter). Matt's performance is from May 9, 2018. This would be Matt's final concert, he passed away May 11. 

From Daniel:
"I spend the day yesterday listening to the horn track from our Wednesday concert and I was struck by Spagliato (Ital.: wrong, error, mistaken..). I couldn't stop listening to it and ended up making a remix, an attempt to extend his notes, sustaining them. I named it:: Spagliato, for Matt Marks (gated solo horn with artificial reverberation DNremix). No pressure to listen though, if it seems too early or wrong. Just wanted to share, in case someone finds it helpful as an anchor for their grief, which it provided for me."

Spagliato For Matt Marks (gated Solo Horn With Artificial Reverberation DNremix)

Carolina Heredia, composer
Performed by Alarm Will Sound

Live at the Mizzou International Composers Festival, July 29, 2017

Notes from the composer:
In Spanish there are two verbs for the English verb “to be”, one is ser (to be) and the other one is estar (to be). The difference between the two is the quality of permanence: estar is a transitory state, an accidental element of being, while ser is permanent, ex. I am (ser) a human being, I am (estar) tired. The Spanish word esencia (essence) is descriptive of the ser verb form, the true nature of anything, not accidental or illusory (Merrian-Webster).

I find myself thinking about this a lot in times of change. Living in another country demands an immense effort for adaptation, in which one of the dangers -and almost unavoidable stage- is the feeling of losing oneself. Being at a distance with all the elements that made me myself: my culture, my family, my mother language, made me value all the small-things, those moments, places, persons that have now became lucid memories that I jealously treasure. And, aren’t we all just memories? Those instants that we chose to keep at the surface, and even the ones that remain deep inside, hidden, they shape our being, our feelings, our responses, they become our essence.

esencia

Michael Hall, viola
Robert Nordling, conductor
Bandung Philharmonic, Indonesia
January 30, 2018. - World Premiere performance.

Written with the assistance of a Barlow Foundation Grant.

Stacy Garrop - "Krakatoa" Concerto for Viola (2018) World Premiere

Dear Mother
I. 보고싶은 어머니께 (dear mother)
II. 아픔 (pain)
III. 정 - 아리랑 (Jeong - Arirang)

Dear Mother is a suite of three simple songs intended as a gift for my birth mother. The first movement is a kind of imaginary lullaby. The week after I received my first letter from my birth mother, I reflected on what it meant to me to connect with her after all these years, and this is the music that came to mind.
The centerpiece of this suite is the second movement, titled 아픔 (ah-puhm), the Korean word for pain. This pain can be likened to a uniquely Korean word, Han. Han is thought to be a cultural object, ingrained in the psyche of all Koreans. To borrow from Soojung Jo, Korean adoptee and author of “Ghost of Sangju: a memoir of reconciliation”, han can be thought of as:
“an intrinsic Korean emotion of sorrow, grief, oppression, isolation, loneliness, and resentment of suffering which leads to forgiveness and deep love... There is no literal translation [for han]. It’s a state of mind. Of soul, really... A sadness so deep no tears will come. And yet, there’s still hope.”
There is a pain unique to Korean adoptees and their mothers. A pain of knowing something has been lost but never knowing what that thing is. A pain that must be forgotten if one is to survive. After love, this pain is the first bond that the adopted children of the generations lost can form with their birth mothers, should they be lucky enough to reconnect.

"I had to keep the guilt of having to choose your adoption and the thought of never being able to meet you buried in my heart.”

The third movement, Jeong - Arirang is my own personal setting of Arirang, a traditional Korean melody. Arirang is known as the unofficial national anthem of all of Korea, and there are an estimated 60 different regional variations of Arirang. Jeong is another word unique to Korean, and can be thought of as a deep love and compassion that all Koreans feel towards one another. I remember hearing Arirang as a child and feeling some distant resonance with it. It felt foreign to me, but somehow it also felt familiar. Arirang was the first connection I felt with my Korean heritage, so I decided this setting should be for cello, the instrument that my mother plays. Omma, perhaps you gave me music, so I give this to you.

Dear Mother - 보고싶은 어머니께

This piece was commissioned by The Walden School as part of its 2018 Faculty Commissioning Project. Recorded in Dublin, New Hampshire, at the world premiere performance on July 13, 2018, featuring the International Contemporary Ensemble (ICE). Performers: Isabel Gleicher, flute; Josh Modney, violin; Ross Karre, percussion; Bridget Kibbey, harp.

Erin Cameron: The Color Of Dreams

live at the Red Room (Baltimore, MD), January 24, 2019
solo modular synth sounds (rock samples recorded by Thomas Rex Beverly)

Live at The Red Room - 1/24/2019

Praised for its “depth, beauty, and rich dimension” (The Courier), and “tremendous instrumental color, beautiful textures, [and] impressive formal structure” (ABLAZE Records), the work of Baltimore-based composer/pianist Adam D. O’Dell (b. 1992) seeks to combine classical, jazz, rock, theatre, and folk influences into music with humanistic and story-like qualities.

Recent commissions include the Dubuque Symphony Orchestra, Altered Sound Duo, the Oklahoma State University Symphony Orchestra, Ensemble 135, Just Duet, saxophonist Sean Garde, hornist Andrew Pelletier, and the Julien Chamber Choir. His works have been performed in the United States, United Kingdom, Czech Republic, Russia, Brazil, Germany, and Italy. He has won awards from ABLAZE Records, the Tri-State Wind Symphony, the Philharmonia of Greater Kansas City, Make Music Inc., and the Kennedy Center, among others.

O’Dell holds degrees from Bowling Green State University (MM) and Clarke University (BA). He has studied with composers Marilyn Shrude, Mikel Kuehn, Christopher Dietz, and Amy Dunker. He is currently pursuing his DMA in Music Composition at the Peabody Institute of Johns Hopkins University as a student of Kevin Puts.

O'Dell is an internationally published academic writer, and has given lectures and masterclasses in composition, analysis, and biomusicology across the United States and Europe. O’Dell currently serves as the Artistic Director, composer-in-residence, and pianist with the Noise-to-Signal Ensemble, and is a licensed PARMA Recordings Artist. His music can be heard on the Navona and ABLAZE record labels, and his debut solo album “Clarinet and Percussion pieces I gone and done” is set to be released in November 2018 by the contemporary chamber music/sketch comedy duo Just Duet.

Hypoxia - Toledo Symphony Orchestra

Adam D O'Dell

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