EP (2013) for clarinet, violin, cello & piano
I. Single - II. Ballad - III. B-Side

An EP – extended play – is a term used to refer to a pop music recording that contains more music than a single, but less than a full studio album or LP (long play). Originally used to describe vinyl records, it is now used to describe mid-length Compact Discs as well as digital music downloads. 

The three movements that make up this work have a driving energy and a sense of immediacy that is often found in popular music, as well as a total length that is ideal for an EP as it was originally conceived (about 12-15 minutes of music). Titled using slang for different kinds of pop tunes – Single, Ballad and B-side – the three movements share a number of musical ideas and run continuously without breaks.

EP was commissioned by the SOLI Chamber Ensemble in San Antonio, TX.


EP (2013) - for clarinet, violin, cello & piano

I Ask My Mother to Sing (2022, rev. 2023) for sinfonietta
composed by Oswald Huỳnh

Commissioned by Alarm Will Sound and the 2022 Mizzou International Composers Festival

Performed by the Indiana University New Music Ensemble
Conducted by David Dzubay
Noam Niv, flute
Alex Alani, oboe
Renae Dishman, clarinet
Katie Urrutia, bass clarinet
Sara Erb, bassoon
Emma Nixon, horn
Bailey Cates, trumpet
Robert Cardon-Wake, trombone
Robbie Torres, percussion
Drew Neal, percussion
Alexey Logunov, piano
Thomas Mathias violin
William Mayhew, violin
Sophie Choate, viola
Robert Hurley, cello
Andrew Behrens, double bass

Performed/recorded on November 30th at Auer Hall, Indiana University, Bloomington, IN.

I Ask My Mother To Sing

Premiered by Aura Contemporary ensemble at the Moores Opera House on April 25, 2024.

Aimes Cass, flute
Darius Gerard, clarinet
Ashton Carter, vibraphone
Shupeng Wang, piano
Raul Colmenero, violin
Bernini Chan, violin
Konrad Rudowicz, viola
Ashley Wang, cello
Gabriel Sweet, double bass
Agustina Kapoti, conductor

Call It Intuition

ROCO’s annual conductorless concert featured works in which the orchestra is subdivided. Concertmaster and violin soloist Scott St. John lead the ensemble in the commissioned world premiere of Marcus Maroney’s Concerto for Orchestra (composed in the style of Bartok’s Concerto for Orchestra, which divides the orchestra into pairs), as well as Haydn’s Symphony No. 6 (characterized by multiple duets within the larger piece). The program was completed by Vaughn Williams’ Lark Ascending, featuring Scott St. John, and Bartok’s Rumanian Folk Dances. Performed February 13, 2016, at The Church of St. John the Divine, Houston, TX.

Maroney, Concerto for Chamber Orchestra, I. Epigraph

Morse Code Pop uses a syncopated theme that mimics the sound of a morse code signal. The composer is not fluent in morse code, however, so any specific messages that may result from the motivic material are not intended…

Originally composed as a duet for alto and baritone saxophone for Valerie Vidal and Elizabeth Owsijuk, the work was subsequently arranged for soprano and alto saxophone duo, at the request of Elizabeth Rosinbum and Jessica Voigt for a performance at the 2015 World Saxophone Congress in Strasbourg, and saxophone quartet, at the request of Dan Gelok, the saxophone professor at the University of Houston, Moores School of Music for a performance at the 2016 Texas Music Educators Association Conference.

Morse Code Pop (2016) - saxophone quartet

YA! by Sarmen Almond
Master by DJ Disidente (@disidente-1) 
Voice Performance
2015 - 2016

YA! - Live VoicePerformance AUDIO

Composed for performance at the Beethoven Society of Europe in London. Tali Morgulis, piano.

Selbstportrait mit Beethoven (und Britten und Berg sind auch dabei)

DMA Recital

Touché

Chaw refers to something that is chewed or the act of chewing something that is not to be swallowed, such as a wad of tobacco. The American Minstrel song "Ching-A-Ring-Chaw" (1833), one of the songs Aaron Copland arranged in his "Old American Songs", is "chewed up" in order to create this energetic and virtuosic work. The original tune, presented in the violin at the start, comes in and out of focus throughout. Chaw was written for Music from Copland House, who premiered the work in February of 2012.

Chaw (2012) for flute, clarinet, violin, cello & piano

KAZE means wind in Japanese. The piece is for solo alto flute because this particular instrument shares several similarities with the sound and size of the shakuhachi, the bamboo flute of ancient Japan. I have always thought that my real instrument is not the flute, but simply the air, air in motion. Kaze is a piece that evidences such fact in a very poetic and persuasive fashion, depicting intonations of airs that are as varied and colorful as the pure traditional tone of the flute. Constant oscillations between aired textured sounds and pure sounds are designed to give the impression of emotional displacement throughout the concert hall that will hopefully affect the audience, as if the phrases of the flutist where shards of transparency, of glass, metaphors of air making the listeners wonder between real and surreal transitions of sound and space. An ancient Japanese belief sustains that the sound of the flute is the only sound that can be heard by those who already passed away. As times of struggle in Mexico are hard in many ways, the vision of furious air sounds across an imaginary desert land becomes tender and meaningful, as it turns hopeful and luminous.

KAZE II for multiple flutes

for soprano, double bass, and electronics

Anika Kildegaard - soprano
Will Yager - double bass

Call It Intuition

Eric Estrada

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