Igniting Kites & Flying Fireworks for Orchestra (2015).

Performed by: Cape Town Philharmonic Orchestra; Brandon Philips

The work is written in a pseudo overture style. It aims to evoke a sense of speed and vigour – often found when flying kites or watching fireworks. This is done by manipulating one of the main traditional features of orchestral overtures: the use of dotted rhythms. These dotted rhythms are inverted in order to better evoke the aforementioned feeling of urgency. These figures occur throughout the first theme, which is suggestive of emotions involving pride and joy. This is taken over by the counter-theme, which poses a lighter, comical stance. The opening first section is then brought to a close with both themes supported by strongly tonal harmony, which further enhances the work's sense of joyful celebration. 
  
The piece continues straight into a transitional section, continuing to make use of the dotted rhythm feel (except now portrayed using triplets/compound time). This leads into the second section, which introduces a lyrical aspect to the piece. Different melodic episodes are presented by various members of the orchestra; each evoking a different sense of 'happiness'. These episodes include suggestive feelings of exhilaration leading up to contentment. 
  
The satisfaction posed by the final melodic episode is immediately juxtaposed by angst and impatient material. This is suggested using pointillistic rhythms in conjunction with chromaticism. This is derived from the second theme, which ultimately amalgamates into a large climax. This point marks the return of the first section, revealing that the piece is in altered ternary form, 
  
Igniting Kites & Flying Fireworks concludes with a coda, which recalls thematic incipits that have previously occurred throughout the piece. These are then combined in order to create a powerful climactic resolution. It signifies both the explosion of fireworks and the overall completion of the work.

This composition was awarded joint-1st prize at the 2015 KwaZulu-Natal National Philharmonic Orchestra Composition Competition.

Own Works

Igniting Kites and Flying Fireworks

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I am a lover of video games and making video game music. I finished a masters degree in music composition in 2016 focusing on musical interactivity in indie games (check it out here: http://www.jumpshipmusic.co.za/music-indie-video-games-composers-perspective-musical-approaches-practices/ ). Currently working as a music theory lecturer, musician and composer. 

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The music of composer Conrad Asman (b. 1996) has gained international recognition as being “innovative and cutting edge” (Chorosynthesis) and spans a wide emotional range from “heart-rending” (The Esoterics), to “fun and festive” (Creative Feel). His works have been performed in Africa, Asia, Europe and America in venues such as Carnegie Hall, the Nelson Mandela Metropolitan University and the Jinji Lake Concert Arena. Engagements with ensembles such as the Shanghai Philharmonic Orchestra, the Esoterics singers, the CHROMA ensemble and the Cape Town Youth Choir have led to his work winning multiple major awards, scholarships and commissions worldwide.

Jacob Beranek is a Wisconsin-born, New York-based composer of classical music rooted in melody. His compositions are infused with his love of historical traditions — musical, religious, or even his Czech heritage. Beranek served as the inaugural Composer-in-Residence of the Midsummer’s Music Festival (Door County, USA) from 2017–20. His works have been championed by the GRAMMY®-nominated ALIAS Chamber Ensemble (Nashville), Band of the Castle Guards & Czech Police (Prague), Dolce Suono Ensemble (Philadelphia), Euterpe Quintet (Seoul), and The Gesualdo Six (London). He is a student of John Corigliano at The Juilliard School.