Recorded by Dr. Miho Takekawa, July 28, 2015 in Lagerquist Concert Hall, Pacific Lutheran University.

Three Impulses for solo marimba

IMPULSE No. 3 (2015)

IMPULSE No. 2 (2015)

IMPULSE No. 1 (2015)

Adagio-Allegro

Premiered by Alexa Bayouk and Devin Turner, May 22, 2016; Lagerquist concert hall at Pacific Lutheran University

TWO SCENES for Bb clarinet and piano (2016)

Recording of the premiere, by Dr. Edwin Powell and the Pacific Lutheran University Wind Ensemble; Nov. 30, 2016; Lagerquist Concert Hall, MBR, Pacific Lutheran University

EL CHUPACABRA for wind ensemble (Dr. Powell + PLU wind ensemble, 2016)

Commissioned and premiered by Megan Grady, clarinet, and Dr. Erik Steighner, saxophone.

Recording of Megan Grady and Dr. Erik Steighner; September 16, 2017, Lagerquist Concert Hall, Pacific Lutheran University

FLUTTERS for Eb clarinet and soprano saxophone (2017)

Performance by Dr. Gerhardstein and the PLU wind ensemble; 2018 CBDNA West/Northwest Conference, March 22, 2018 at Sonoma State University, CA

The score and more info can be found here: emiliojosegonzalez.com/elchupacabra

PROGRAM NOTE
El Chupacabra was inspired by the story of a creature said to attack and drink the blood of animals. The word chupacabra
translates literally to “goat sucker” in reference to the initial encounters with the beast, when livestock were found with puncture wounds in the chest area, having been drained of their blood.

I commissioned two other artists to provide additional materials for this project in an effort to provide some context for an audience that may not have much, if any, knowledge of these occurrences. The first piece is an acrylic painting on canvas, painted by Shay O’Day, and the second is a piece of mixed media literature by Katee Wilson. Please visit emiliojosegonzalez.com/elchupacabra to view both of these works. I gave both artists the same goal, which was to create an environment for my music to take place in. Along with that I explained the concept behind the piece and gave them a recording of the finished piece of music. I was motivated to commission both of these works by desire to bridge gaps between various art forms. The outcome, displayed in this score, exceeded all of my expectations.

One of the first reported attacks by the chupacabra happened in the Puerto Rican town of Canóvanas, which is within 10 miles of El Yunque National Rain Forest. Now imagine that you are in this area of Puerto Rico. El Yunque receives about 120 inches of rainfall annually with an average year-round temperature of 80 degrees Fahrenheit— it’s very humid. There is an abundance of wildlife: various species of birds, bats, frogs, and insects. One bug in particular, the cucubano, is similar to a firefly, but with two bioluminescent spots instead of one. Now imagine, you’re in this rain forest and it’s dark and it’s raining. You hear all kinds of movement around you from the wild life. You keep seeing pairs of eyes moving around— or are they bugs?

Are you the hunter or the hunted?

EL CHUPACABRA for wind ensemble (2016) (Dr. Gerhardstein + PLU wind ensemble, 2018)

In the winding canals of Xochimilco, south of Mexico City, is La Isla de las Muñecas—The Island of the Dolls. As the story goes, after finding a young girl who drowned under mysterious circumstances, Don Julian Santana, who lived on the island, also found a doll floating in the water. Haunted, he began to obsessively collect and hang dolls around the island in an effort to appease the spirit of the girl. People have reported these dolls moving and whispering at night, beckoning them to come onto the island. After nearly half a century of collecting dolls, Don Julian was found dead—drowned in the waters of Xochimilco. This piece considers the natural and supernatural themes of this legend to tell a story of haunting obsession and hopeless appeasement.
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Performance by Steven Smith and the Cleveland Chamber Symphony, NEOSonicFest; April 11th, 2018 @ Baldwin Wallace University, Gamble Auditorium

LA ISLA DE LAS MUÑECAS for chamber orchestra (2018)

"Tahoma" is a piece for concert band, commissioned by Alec Wilmart of Kellogg Middle School and Mariko Lane of Einstein Middle School, thanks to a generous grant from the Shoreline Public Schools Foundation. This a recording of their combined wind ensembles performing "Tahoma."

The score and more info can be found here: emiliojosegonzalez.com/tahoma

PROGRAM NOTE
The great white mountain that towers over western Washington has been known by many different names. To refer to the mountain as Tahoma, or another indigenous language name, is to recognize that this mountain was woven into the fabric of other people's culture and had other names before it was called "Mount Rainier." Using the name Tahoma recognizes that we occupy land that belonged to the Puyallup, the Muckleshoot, the Duwamish, the Tulalip.

Recognizing the truth in these statements is acknowledging indigenous peoples and their enduring stewardship of the land; that we are still their guests and they are still our hosts. Tahoma is meant to honor the great white mountain and those who were first inspired by it.

📸: @mountrainiernps (Instagram) / L. Kurnath

TAHOMA for concert band (2019)(Alec Wilmart + combined Einstein/Kellogg MS Wind Ensembles)

Recording of Hila Zamir, clarinet, Soren Hamm, saxophone; February 9th, 2018, Bryan Recital Hall, CMA, BGSU

The score can be found here: emiliojosegonzalez.com/flutters

PROGRAM NOTE
flutters
verb: to move or fall in an irregular or trembling motion; (of a person) to move restlessly or uncertainly
noun: a state or sensation of tremulous excitement

This piece for Eb clarinet and soprano saxophone, much like a flutter, is about a nervous, shaking energy that continuously builds up and becomes more frantic.

I am a composer, percussionist, and educator from Tacoma, WA
🌲🌲🌲
Let me tell you a story

Emilio José González

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