Our piece, Oil and Water, is an exploration of the imagery presented by the scientific properties of oil and water, specifically their inability to mix as a complete compound. No matter how hard you may try to mix these substances, they will always separate. With this in mind, we explore the relationship between oil and water through movement and music. This struggle to connect presents a deeper conflict between two individuals fighting to find common ground, which is shown through physical contact and separation. This piece is important because it demands recognition of how we, as humans, seek intimate connection that at times in life we cannot find. Interpersonal relationships struggle to remain cohesive when battered with miscommunication, separation, and pride. It is a reminder that from within that strife and maybe because of it, the past and future relationships we create can become that much more beautiful and meaningful. 

-Delanie Molnar and Lydia McDonald
Performed by Joseph Reding, Fall 2019.

Oil & Water (sans dancers)

Chamber piece for Violoncello, Harp, and Marimba. Resist may be interpreted in a few ways. In form, each section of the piece resists becoming a singular main idea; metaphorically, resist may be felt as it means to restrain oneself from something, may it be a memory, an idea, an opportunity or temptation. To know a nostalgic longing for that something we could have, but resist possession of in order to better preserve who we are.

Painting by René Magritte.

Resist

Written for the UPBEAT International Summer School Composer/Performer program, in Milna, Croatia. Written for viola, alto saxophone, and found percussion with prayer bowl.

Tibetan prayer bowls, also called singing bowls, are used by monks to indicate changes in activity during the day as well as to indicate the beginning of silent meditation. After recently acquiring my own singing bowl, I became fascinated by how it might feel to achieve such a complete calmness in the mind through meditation with the sound of the bowl, as well as how the brain comes to reach that state. What states may the mind pass through to get there? The ideas of changing states of mind, transformational scenes of thought, and the brain during calm meditation (or lack thereof) in this piece were all initially inspired by the ways in which prayer bowls are used in daily life.

Cover art: digital painting by Delanie Molnar.

Mindful(l)

Make sure to look up and not take things so seriously today! Enjoy this bubbly, rainbow-colored creation (best with headphones).

Cover art: freely used with permission from Pixabay.

Bubble Rainbow Dance Party

This piece was commissioned by and is dedicated to Luke Hahn. The verses Romans 8: 38, 39 are of personal significance to Luke and were used as a major compositional device. These verses also inspired the title of the piece, ROMANS.

Performed by Stephen Symank (2017)

Cover art: painting by Gustave Dore, The Fall of the Rebel Angels.

ROMANS

The second song of five in my Lewis Carrol song cycle, A Series of Dreams.

Jabberwocky

‘Twas brillig, and the slithy toves Did gyre and gimble in the wabe: All mimsy were the borogoves, And the mome raths outgrabe.

“Beware the Jabberwock, my son! The jaws that bite, the claws that catch! Beware the Jubjub bird, and shun The frumious Bandersnatch!”

He took his vorpal sword in hand: Long time the manxome foe he sought -- So rested he by the Tumtum tree, And stood awhile in thought.

And, as in uffish thought he stood, The Jabberwock, with eyes of flame, Came whiffling through the tulgey wood, And burbled as it came!

One, two! One, two! And through and through The vorpal blade went snicker-snack!
He left it dead, and with its head
He went galumphing back.

“And hast thou slain the Jabberwock? Come to my arms, my beamish boy! O frabjous day! Callooh! Callay!” He chortled in his joy.

‘Twas brillig, and the slithy toves Did gyre and gimble in the wabe: All mimsy were the borogoves, And the mome raths outgrabe.

Lewis Carroll

Jabberwocky

A piece for orchestra inspired by the poem, A boat beneath a sunny sky by Lewis Carrol. This piece is part of a collection of works I am creating inspired by the literature of Lewis Carroll. 

A boat beneath a sunny sky, 
Lingering onward dreamily 
In an evening of July —

Children three that nestle near, 
Eager eye and willing ear, 
Pleased a simple tale to hear —

Long has paled that sunny sky: 
Echoes fade and memories die: 
Autumn frosts have slain July.

Still she haunts me, phantomwise, 
Alice moving under skies
Never seen by waking eyes.

Children yet, the tale to hear, 
Eager eye and willing ear, 
Lovingly shall nestle near.

In a Wonderland they lie, 
Dreaming as the days go by, 
Dreaming as the summers die:

Ever drifting down the stream — 
Lingering in the golden gleam — 
Life, what is it but a dream?

Lewis Carroll

Cover art: freely used with permission from Pixabay.

A boat beneath a sunny sky

On the Wind originated as a piece I wrote for men’s chorus which I have adapted into a fixed media work. Each part (TTBB) was recorded by individual singers, and all sounds included in the piece are derived from these recordings. On the Wind is inspired by the literal sound of wind, as it is heard rushing past our ears or faintly from within indoor spaces. It is also inspired by the things we come to know that are not immediately seen or understood - feelings of rising change, utterances of hope and resilience in a time of struggle, whispers of the things we wish we could see.

On The Wind

flighty / feral is inspired by the behaviors these words provoke, the Creature they may depict — the sounds the Creature creates as it exists. An underlying narrative spins as the Creature, fickle and flighty turns panicked, and ferociously fights back against the unknown danger it faces. This piece was commissioned and performed by Olivia Hamilton.

Cover art: freely used with permission from Pixabay.

flighty / feral

Composer and clarinetist, currently based in Austin, TX.

Delanie Molnar

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