CIM orchestra conducted by Maestra JoAnn Falletta

Iterations, for percussion, piano, harp, and strings

Concerto for Wind Ensemble (2021) - World Premiere Recording
Nominated for the 2022 Pulitzer Prize in Music
Finalist for the 2022 ASCAP Morton Gould Young Composer Awards
Finalist for the 2021 National Band Association William D. Revelli Composition Contest

Sheet Music Available Now:
http://murphymusicpress.com/search?query=Concerto+for+Wind+Ensemble


University of Georgia (UGA) Wind Ensemble
Dr. Jackie Hartenberger, conductor and Interim Director of Bands at UGA

I. Flow (0:00)
II. Riff (4:06)
III. Vibe (7:43)
IV. Soul (11:50)
V. Jam (17:00)

Commissioned by a consortium of ensemble directors, led by Dr. Cynthia Johnston Turner (Dean of the Wilfred Laurier University School of Music)

Cynthia Johnston Turner - University of Georgia
Jerry Junkin - University of Texas at Austin
Jeff Ball - Brooklyn Wind Symphony
Jason Caslor - Arizona State University
John Stewart - University of Wisconsin-Eau Claire
Daniel Belognia - Arkansas Tech University
Mark Spede - Clemson University
Onsby Rose - Dordt University
Jonathan Poquette - Elon University
Jason Nitsch - Memorial High School 
Nicholas Bratcher - Cal State San Bernardino
Kevin Sedatole - Michigan State University
Chad "Sir Wick" Hughes - Morehouse College
Bobby Francis - Texas Christian University
Matt Klohs - Maestros With A Mission (Australia)
Matthew Westgate - University of Massachusetts - Amherst
T André Feagin - Central Washington University
Robert Carnochan - University of Miami
David Vickerman - San Jóse State University
Jacob Wallace - South Dakota State University
Tony Marinello - Illinois State University
Jason Noble - Columbia University
Chuck Maguire - The Desert Winds

RIP to my friend and colleague Sarah DelBene, flute soloist in Mvt IV ("Soul")

www.kevindaymusic.com

Concerto for Wind Ensemble - UGA Wind Ensemble, Jackie Hartenberger

Violin: Celeste Pena
Cello: Haley Hedegard
Clarinet: Madelyn Armes
Flute: John Robert Santiago
Piano: Austin Ho

Recording, mixing, and mastering by Sergey Parfenov.

Good Trouble

photo by Zach Mendez

Allie Taylor - violin
Sarah Beth Overcash - violin
Sophie Choate - violin
Zechariah Mo - viola

placing ceremony [2018, rev. 2022] | music academy of the west

Conductor: Peter Kadeli

Flute: Lilah Senibaldi, Pedro Mujica
Oboe: Olivia Leake, Rachel Burkhalter
Clarinet: Li-Jie Yu, Haley Harrison
Bassoon: Chanelle Junio, Jacob Lomboy
Horn: Terrence Perrier, Jake Buckner, Evelyn Hupka, Anna Dorey
Trumpet: Evan Eldridge, Alex Keiser, Caleb Abshire
Trombone: Scott Rasher, Matt Fowler
Bass Trombone: Justin Carrothers
Tuba: Gage Sippel
Timpani: Kaleb Hascall
Percussion: Drew Neal, Thomas Frost, Jaxson Rives
Harp: Evelyn Theinert
Violin I: Delia Li, Daniel DiMarino, Jisu Youn, Constance Wu, Achille Vocat, Marienn Sanchez, Grace McKenzie, Angela Kapikian
Violin II: Ava Leschyshyn, Anna Cain, Dmitri Volkov, Elizabeth Scarlett, Cameron Zorlu, Naomi Kertonugroho
Viola: Hyrum Kohler, Jacob Davis, Kai Slesarev-Ngami, Alanna Mossell, Rowan Lemaster, Addison Hightower
Cello: Adrian Golay, Joy Chih-Yi Chu, Connor Swain, Hannah Greenstein, Somyong Shin
Double Bass: Javier Hernandez, Jonathon Piccolo, Mingzi Han

Audio Engineer: Garrett Treanor

Recorded on November 12, 2022 at Auer Hall
Indiana University Jacobs School of Music, Bloomington, IN

Feeling New Strength (2021) for orchestra

Double Concerto for Toy Pianos and Chamber Orchestra is my dissertation piece for my DMA in composition at University of Miami.

This is a DEMO - sounds by Noteperformer, except all the toy instruments in Movement III., which I recorded live. 

Soloist 1 plays a Kawai Mini Baby Grand, and a Jaymar 30-key tabletop. Soloist 2 plays a 25-key Michelsonne PARIS, and a Schoenhut 30-key Classic Baby Grand. All four toy pianos are amplified.

For this demo recording, I simply used a "celeste" sound for the toy pianos, which of course bears no witness to the true timbral glory of the four real instruments, which each have their own unique and very different sound. 

Movements I and III are for full chamber orchestra, and Movement III additionally has amplified banjo, and toy instruments/noisemakers. Movement II is can be a standalone piece, and is only for 2 of the 4 toy pianos. It is just toy pianos with string orchestra accompaniment, and is meant to be played by a string orchestra of any skill level, and the toy piano parts can be played by percussionists. 

Chamber Orchestra (Sinfonietta-plus)
flute/piccolo
oboe
Bb clarinet
alto saxophone
bassoon
horn
Bb trumpet
trombone
tuba
banjo (Mvt. III only)
percussion 1
percussion 2
percussion 3
violin I
violin II
viola
cello 
double bass

In Movement III, in addition to their primary instruments, woodwinds play toy accordions, brass play slide whistles, banjo plays Acme siren whistle, upper strings play bird calls, and lower strings play deer grunters.

DEMO - Double Concerto for Toy Pianos and Chamber Orchestra

Stars Alone -- SSAATTBB choir and string orchestra -- by Christina Brice Dolanc. Lyrics from Stars by Sara Teasdale.  "The translation to music, the feeling of awe when looking up at the stars while realizing the vastness of the universe and how small we are within it".  Commissioned by the Erie Chamber Orchestra featuring the Erie Renaissance Singers. Matthew Kraemer, conductor. Steven A. Woods, choir director. Soloists: Margaret Andraso, soprano and Maureen Conlon, violin. Premiered April 23. 2016.

Stars Alone -- Christina Brice Dolanc 2016

Ricardo R. Martinez - Soprano Saxophone
Digital Harp realization by Willi März

The word Viridian is defined as a chrome green pigment that is a hydrated oxide of chromium. Originally written for the sax/harp duo Pictures on Silence, Viridian Soliloquy is the third piece in my series of duets for one melodic instrument and one harmonic instrument. Each soliloquy is titled after a color – the first being cerulean (for flute and piano) and the second being obsidian (for cimbalom and theorbo). As a composer, I experience the phenomenon of synesthesia. This is where I see colors associated with sounds and vice versa. I was inspired to choose viridian for this piece because of the sometimes shiny green hue that reflects off of the body of the saxophone and the “green” timbre of the instrument. The spirit of the piece is short, fast and furious and incorporates influences from rock, jazz, heavy metal and early music.

Buy the score

Viridian Soliloquy (HARP and Saxophone version)

The end of the 60s into and through the 70s saw the era of the “blaxploitation” film – a genre of filmmaking aimed at African-American audiences which put us in leading roles of stories that often followed anti-establishment plots. These films were often controversial due to their exaggerated bravado, hypersexuality, and violence. Noticing the lucrative potential of blaxploitation films, Hollywood began to market these films to a wider audience. Though low budget, they possessed an exciting, raw, soulful quality unlike any other genre up until that time, and from these films were born some of the most iconic characters  (Shaft, Dolemite, Foxy Brown, and Cleopatra Jones, to name a few) and soundtracks ever created, written by some of the biggest names in African-American popular folk music of the day and since, including Issac Hayes, Curtis Mayfield, James Brown, and Marvin Gaye.

“The Low-Down Brown Get-Down” is the soundtrack for a nonexistent blaxploitation film. It pulls from various sounds and styles of African-American folk music, such as funk, R&B, soul, early hip hop, the blues, and even film noir to stitch together its “scenes.” The title pulls from and is inspired by “post-jive” African-American Vernacular English (AAVE). The word “Brown” in the title, in addition to its reference to none other than the Godfather of Soul, James Brown, whose most-famous licks and bass lines pepper the intro and recur throughout the piece, also refers to the melanin of the people who created these sounds.

This piece unapologetically struts, bops, grooves, slides, shimmies, head bangs, and soul claps its way straight through its thrilling “chase scene” finale. It was my intention with the creation of this piece to go full steam ahead on bringing African-American folk music to the concert stage to take its place amongst all other types of folk music that have found a comfortable home in this arena. May this work push back against notions of “sophistication,” “appropriateness,” and “respectability” that have been codified in the concert music setting for a century and more.

This work was commissioned by a consortium led by the Purdue University Fort Wayne School of Music Symphonic Wind Ensemble, Dr. Daniel Tembras, Director.

The members of the consortium are as follows:

University of Kentucky – Dr. John Cody Birdwell, Director of Bands
University of South Carolina – Dr. Cormac Cannon, Director of Bands
University of North Carolina Greensboro – Dr. Kevin Geraldi, Director of Instrumental Studies
University of Georgia – Dr. Cynthia Johnston Turner, Director of Bands
University of Texas at Austin – Prof. Jerry Junkin, Director of Bands
University of Oregon – Dr. Dennis Llinás, Director of Bands
University of Minnesota – Dr. Emily Threinen, Director of Bands

The Low-Down Brown Get-Down [MIDI]

Come Sunday is a two-movement tribute to the Hammond organ’s central role in black worship services. The first movement, Testimony, follows the Hammond organ as it readies the congregation’s hearts, minds, and spirits to receive The Word via a magical union of Bach, blues, jazz, and R&B. The second movement, Shout!, is a virtuosic celebration - the frenzied and joyous climactic moments when The Spirit has taken over the service. 

The title is a direct nod to Duke Ellington, who held an inspired love for classical music and allowed it to influence his own work in a multitude of ways. To all the black musicians in wind ensemble who were given opportunity after opportunity to celebrate everyone else’s music but our own - I see you and I am you. This one’s for the culture!

This work was commissioned by a consortium led by The Illinois State University Wind Symphony, Dr. Anthony Marinello, conductor.

The members of the consortium are as follows:

Ball State University – Tom Caneva, Director of Bands
Baylor University – Eric Wilson, Director of Bands
Clemson University – Mark Spede, Director of Bands
Columbus State University – Jamie Nix, Director of Bands
The Dallas Winds – Jerry Junkin, Music Director
James Madison University – Anthony Marinello, Director of Bands
Loyola University New Orleans – Serena Weren, Director of Bands
Michigan State University – Kevin Sedatole, Director of Bands
University of Florida – Jay Watkins, Associate Director of Bands
University of Illinois – Steve Peterson, Director of Bands
University of Miami – Robert Carnochan, Director of Wind Ensemble Activities
University of Michigan – Courtney Snyder, Associate Director of Bands
University of South Carolina – Cormac Cannon, Associate Director of Bands
University of Texas at Austin – Jerry Junkin, Director of Bands
Western Kentucky University – Gary Schallert, Director of Bands
Western Michigan University – Scott Boerma, Director of Bands

2020 TMEA

Come Sunday - Baylor University Wind Ensemble (TMEA 2020), Dr. Eric Wilson

This piece is a celebration of the bravery of trans women, and in particular, Marsha "Pay It No Mind" Johnson. Marsha is credited with being one of the instigators of the famous Stonewall uprising of June 28,1969 – one of the pivotal events of the LGBTQ liberation movement of the 20th century – which is commemorated annually during the worldwide Gay Pride celebrations.

Existing as a trans woman, especially a trans woman of color, and daring to live authentically, creating space for oneself in a transphobic world is one of the bravest acts I can imagine. Over 20 trans women were murdered in the United States in 2018 alone. There is no demographic more deserving, and frankly, long overdue for highlighted heroism and bravery. The disco vibe in the latter half is meant to honor a sacred space held amongst LGBTQ persons – a space to love, live, mourn, heal, strategize, connect, and dance in defiance of those outside forces who would seek to do LGBTQ persons harm simply for daring to exist and take up space.

We pump our fists to honor the life, heroism, activism, and bravery of Marsha P. Johnson, to honor the legacy of the Stonewall revolution, to honor the memory of the trans lives violently ended due to fear and hatred, and in honor of trans women worldwide who continue to exist unapologetically and who demand to be seen.

This work was commissioned by the Desert Winds Freedom Band, Dean McDowell, Director, in commemoration of the 50th anniversary of the Stonewall Riots.
and honoring Marsha P. Johnson

A Mother of A Revolution!

A Mother of A Revolution! - Frost Symphonic Winds, Dr. Tina DiMeglio

Anthony Joseph Lanman is an active and passionate musician that divides his time between composing, performing, teaching and advocacy for new classical music.

As a composer, Anthony creates music that reaches general audiences as well as new music connoisseurs. Embracing influences that range from progressive rock and metal, to medieval and renaissance music, to jazz, to new classical, Anthony strives to create a sound that is his own. He has written for ensembles and soloists around the world.

Recent commissions include – E.G.S./A.J.L. for guitarist Matthew Cochran, Hear Us! for children’s choir and string ensemble commissioned by Otter Creek Middle School, Automaton – a concerto for 8-string electric guitar and percussion for Clocks In Motion, The Rag and Bone Shop – a song cycle for baritone and piano trio for Brian Lewis and David Small commissioned by the University of Texas Butler School of Music, Rush – a quartet commissioned by the Music Teacher’s National Association and the Indiana Music Teacher’s Association, Hommages for Piano, Book 2, for Holly Roadfeldt, and Damselfly – a duo for 8-string electric guitar and percussion for Kyle Lutes.

Anthony’s performing career began in high school while singing and playing electric guitar with his touring progressive band Canvas. His principle instrument changed to classical guitar during his undergraduate years at University of Texas at Austin where he studied with Adam Holzman. Through his graduate study at Indiana University he added renaissance lute and theorbo to his instrumental arsenal, studying with Nigel North. He has performed with the University of Texas New Music Ensemble, the University of Texas Early Music Ensemble, the Indiana University New Music Ensemble, the Indiana State University Wind Ensemble, and Clocks in Motion. He has also performed many concerts of solo and chamber music.

Anthony’s advocacy is life-long. In the nineties, he hosted a contemporary classical music radio show on KVRX in Austin, Texas. In the 21st century, he promoted fellow Indiana University composers through a web presence on Mp3.com (now defunct); created Guitar Heroes, a weekly presentation series in Second Life; and produced more than 100 episodes of his ongoing music-centric podcasts All the Cool Parts and the 1,000 Recordings Podcast. He has appeared as a guest on Soundnotion, Composer Quest, Classical Guitar Insider, Goes 2 Eleven, and The Portfolio Composer.  His new podcast 1 Track focuses on the music of the contemporary classical world.  In addition, he has exposed thousands of new listeners to contemporary classical composers by sharing this music to his more than 400,000 followers on Soundcloud.

Anthony has held several positions at multiple universities and colleges, as well as K-12 public schools. In 2016, he held an adjunct position at Butler University in addition to teaching choir and music at West Vigo Middle School. He holds a BM in composition from the University of Texas, and an MM and DM in composition from Indiana University.

Anthony currently resides in Bloomington, IN with his wife Jenna and their cats Silas and Bod.