Dani Howard

Music posted during Round 2 of #HearAllComposers #EqualityTime on Twitter on March 21, 2017.

#HearAllComposers

Though written for the Great Highland Bagpipe, Krekhts is not a commentary on Scottish traditional music or Scottish piping. The piece is most immediately influenced by the wordless melodies of the Hasidim known as niggunim. These melodies are a very spiritual form of music, vocalized on nonsense syllables such as “buh- buh- bai” or “ai- ai- ai.” Sung with tremendous passion and devotion, niggunim are an essential component of the communal Hasidic celebration known as a tish, or “table.” According to tradition, niggunim are sung a cappella and accompanied solely by rhythmic table banging. When a niggun is sung, it is believed that the soul of the rabbi who created it appears in the room.
 
While all of the musical material in this piece is original, it is deeply influenced by the tradition and practice of niggunim as well as the traditions of the klezmorim. It follows that the bagpipe should be thought of as a voice in this piece, rather than an instrument.
 
Krekhts is Yiddish for “sob” or “weep.” It is also the name for the distinctive klezmer ornament that mimics a sudden choke in a vocal line, imitating a sobbing sound.

Performed by the University of Michigan Symphony Orchestra in Hill Auditorium on February 9, 2014.

Krekhts, for Great Highland Bagpipe and Orchestra (2014)

Score and parts available here: https://www.howardcoll.com/product-page/blue-pavilion-for-brass-quintet

Blue Pavilion is a new work written for Brass Quintet inspired by the room designed by architects Pezo von Ellrichshausen. The piece explores the idea of ‘Simple things, but which taken together suggest something more complex’. Commissioned by the Royal Academy of Arts and inspired by the Pezo von Elrichshaussen installation, Blue Pavilion was premiered in the gallery by Kensington Brass. 

Recorded by the RCM Studio's
Copyright Dani Howard 2014 
www.danihoward.com

Blue Pavilion

Recorded Live
Hill Auditorium, University of Michigan, Ann Arbor, MI
University Symphony Orchestra
Conductor: Elliot Moore
Soloists: Timothy Steeves, Davis Weist, Rachel Samson and James Perreta

Incertidumbres (Excerpts) For String Quartet, String Orchestra, Piano and Percussion (2013)

A recent recording made of composition 'Ascending To Serenity' written 2013.

Score and parts available here: https://www.howardcoll.com/product-page/ascending-to-serenity

Often when living in the midst of a busy city, it becomes far too easy to lose sight of perspective. Inspired by the Icon of the London Eye, Ascending to Serenity (commissioned by the Pacific Trio London) for piano, bass clarinet and violin, aims to take the listener on a path journeying beyond daily life. Beginning at ground level, surrounded by everyone and everything, the listener is soon lifted above the rooftops of London, able to observe their world on an unfamiliar scale. Looking high over the city, this music aims to offer appreciation of an unexplored beauty in our familiar environment. The music gradually dips back into a now more grounded reality, allowing for clarity of thought upon return to our daily lives.

Performed by Maria Setiadi (Piano), Emma Burgess (Bass Clarinet), Laia Braun (Violin)
© Dani Howard 2016

Ascending To Serenity

Pushing Air (for RTÉ National Symphony Orchestra conducted by Gavin Maloney)

Extract from 'Haven' For Orchestra, performed at the Cabrillo Festival of Contemporary Music, Santa Cruz, California August 2016. 

© Dani Howard 2016

Haven (For Orchestra) EXTRACT

Commissioned by Orchestra Vitae 2016, Arches was premiered in St. Johns Smith Square, London 5th October 2016. 

Arches is inspired by ups and downs (in many senses of the phrase). This concert commemorates the 400th anniversary of William Shakespeare’s death, and therefore as the work developed it became structured around the theatrical elements and dynamics in relationships, and emotional ups and downs we go through. This is something we see in all of his work, and I was particularly interested in how he communicated this in an often playful and dynamic way, which is what shaped the character of this piece. 

I am very pleased to have the world premiere given in this venue as I have been very influenced by the architecture in St. Johns Smith Square, which originally gave the piece its’ title; Arches.

© Dani Howard 2016
www.danihoward.com
www.orchestravitae.co.uk

Arches

"Neon" excerpt (ending of the piece)
for orchestra
performed by the New York Youth Symphony, Joshua Gersen, conductor.

Arches

DaniHoward