Uncommon Ground • Faculty Composition Recital

Amanda DeBoer Bartlett, soprano
Anne Kissel, piano

April 17, 2019
Rosch Recital Hall
SUNY Fredonia
Fredonia, NY

Sample Rate – Jamie Leigh Sampson

Frozen Landscape • Jamie Leigh Sampson • IDRS 2021

Amanda DeBoer Bartlett, soprano

performed on Uncommon Ground, faculty composition recital
April 5, 2022
Rosch Recital Hall
SUNY Fredonia

220405 Faculty Recital

The Body Electric

Joe Dan Harper, tenor

performed on Uncommon Ground, faculty composition recital
April 5, 2022
Rosch Recital Hall
SUNY Fredonia

Being of the Sea

Mariami Bekauri, mezzo-soprano
Sandra Leary, piano

performed on Uncommon Ground, faculty composition recital
April 5, 2022
Rosch Recital Hall
SUNY Fredonia

American Mother

Andrew Martin Smith, clarinet
Jamie Leigh Sampson, bassoon

performed on Uncommon Ground, faculty composition recital
April 5, 2022
Rosch Recital Hall
SUNY Fredonia

Mended

Text by Pamela Hart
Mariami Bekauri, mezzo-soprano
Sandra Leary, piano

performed on Uncommon Ground, faculty composition recital
April 5, 2022
Rosch Recital Hall
SUNY Fredonia

Mother's Broken Pantoum

Elizabeth Hanlon & Andrew Martin Smith, clarinets
Andrew Seigel, bass clarinet
Jamie Leigh Sampson, bassoon
Jacob Swanson,  baritone saxophone
Kieran Hanlon, bass

performed on Uncommon Ground, faculty composition recital
April 5, 2022
Rosch Recital Hall
SUNY Fredonia

Adrft|Entwined

Amanda DeBoer Bartlett, soprano
Mariami Bekauri, mezzo-soprano
Jamie Leigh Sampson, bassoon
Jessica Barnett-Moesley and Sandra Leary, piano

performed on Uncommon Ground, faculty composition recital
April 5, 2022
Rosch Recital Hall
SUNY Fredonia

Thousand Times a Thousand

World Premiere Recording
University of North Texas Wind Orchestra
Andrew Trachsel, conductor
April 28, 2022

Ships' Passing

Andrew Martin Smith, clarinet
Jamie Leigh Sampson, bassoon

November 4, 2022
Syracuse University
Society of Composers Region II Conference

Andrea Priester Houde, viola
World Premiere
July 12, 2022
Interlochen Arts Center

Threw And Through

Performance at the International Double Reed Society Conference July 2022 by the Paradise Winds Reed Quintet:
Tiffany Pan, oboe
Joshua Gardner, clarinet
Stefanie Gardner, bass clarinet
Patrick Murphy, saxophone
Joseph Kluesener, bassoon

the alphabet: ruin of silence • Paradise Winds

trans•noesis for saxophone quartet was written for the Quanta Quartet’s Australian tour in 2014. The work is based on activity that takes place just beyond the observable human senses. The title means to move through or across the perception of the mind, and for this purpose, doing so without attracting the attention of the conscious mind, only the subconscious. Noesis, taken from classic Greek philosophy is related to the nous. Nous is a noun that describes intellect or intelligence and noesis is the actions of the nous. The nous is necessary for understanding what is true or real.
 
We often know that we are in danger before we can see or hear what that danger is. There’s someone lurking in a shadow too dark to see, there’s a predator walking too quiet to hear. The melodic content of trans•noesis is obscured by dynamics, texture, interruptive silence, or noise. It is there, but not accessible to our conscious minds.

For score and parts: http://bit.ly/2gtM2Fp

trans•noesis

November 4, 2023
William Talley, conductor
Ohio University Wind Symphony
Society of Composers Region V Conference

Sampson • Ships' Passing • Ohio University

A - Night

B - Day

A - Tent

B House

Performed by Cynthia Van Maanen, flutes
Andrew Martin Smith, clarinet
Douglas Spaniol, bassoon
Mary Grace Johnson, violin
Phil Roberts, piano

Interlochen Center for the Arts
July 2023

Adrift|Entwined

Performed by the W.P. Clements High School String Orchestra 
Conducted by Neal Springer

Drifting Embers

The Paradise Winds Reed Quintet at the 2022 International Double Reed Ensemble
Tiffany Pan, oboe
Joshua Gardner, clarinet
Patrick Murphy, saxophone
Stefanie Harger Gardner, bass clarinet
Joseph Kluesener, bassoon

Unequal Measure • Paradise Winds

Performed by the Hillsdale Faculty Woodwind Quintet


They Were Verbs

The World Premiere of Gathered Fragments performed by the Toledo Symphony Youth Orchestra.

Gathered Fragments

Strife for bassoon and alto saxophone, was commissioned in 2012 by the Aether Duo. The title of the work was taken from the introductory monologue of Shakespeare’s Romeo and Juliet, much like Sampson’s Cross’d for two soprano saxophones. In Cross’d, the performers achieve moments of peace interrupted by violent changes, while in Strife there is more or less a constant tension. The difference being that for Romeo and Juliet there are at least some moments of peace, while “their parents’ Strife,” or quarrel, maintains perpetual anxiety. 

Both the large form and individual gesture shapes are based on the word ‘strife.’ The shape of each letter and the sounds they 
represent, sustained or repeated, create the individual sections. There are six sections to the work, each based on a different letter and separated by transitions that are rhythmic variations of identical pitch sets.

Score: http://bit.ly/2nf0y7A

Strife

Recorded by Ritual Action: 
Andrew Nogal, oboe • Andy Hudson, clarinet • Ben Roidl-Ward, bassoon

Program note:
Anyone Lived for trio d’anches was written in 2017 and is based on E.E. Cummings’s poem “anyone lived in a pretty how town.” The poem captures an odd angle of two characters, anyone and noone, as they live out their lives, fall in love, and die...just to have “busy folk bur[y] them side by side,” while the pace of the poem and world never slows. Lines that reorder the seasons, the weather, and celestial bodies mark the passage of time, while the organisms that inhabit the Earth whirl and buzz by.

The rapidity of action and irregular rhythmic motives that come from a reading of the poem seemed to match the repertoire of a trio d’anches or wind trio. Of all of the potential wind chamber groups, the wind trio is fairly common, with much of its repertoire being produced in the early twentieth-century; Witold Lutoslawski, Hector Villa-Lobos, Adrian Cruft, and Paul Pierné all wrote popular works for this ensemble.

This piece is dedicated to Sipkje Pesnichak and Andrew Martin Smith of the ADVerb Trio, with whom I’ve been making music for over half of my life.

Score: http://bit.ly/2z4ZYkY

Anyone Lived

for the Ogni Suono Saxophone Duo

Cross’d for two soprano saxophones, was commissioned in 2011 by the Ogni Suono Saxophone Duo. The title of the work, taken from the introductory monologue from Shakespeare’s Romeo and Juliet, draws on the idea of being ‘star cross’d’ or thwarted by fate. In this case, the performers aggressively push towards an unstable, unsustainable, and frequently interrupted peace.
Both the large form and individual gesture shapes are based on the word ‘cross’d,’ the shape of each letter, and the sound of that letter sustained or repeated. There are six sections to the work, each based on a different letter, or punctuation, and separated by transitions that are rhythmic variations of identical pitch sets.

For Score and Parts: http://bit.ly/2DP6jQD

Cross'd

based on the poem of the same title by Gillian Conoley 
Peter Tantsits, tenor 
Jamie Leigh Sampson, bassoon 
Tamzin Ferré Elliott, harp

In the Next Next World

(9:01 Rush) Elevator Music was written for a competition for live elevator music. The elevator involved took exactly 30 seconds to ascend 23 floors. Participants were to write a piece that could be performed on flute, clarinet, or soprano saxophone in that amount of time. It is the winner of the 2015 Columbus Ohio Discovery Ensemble call for scores.

Score: http://bit.ly/2DBnVys

(9:01 Rush) Elevator Music

The Body Electric uses two lines from Walt Whitman’s poem “I Sing the Body Electric.” The first is reorganized in a matrix according to the following hierarchy “I vapor breath drawn were am helpless more its no than by as if a.” The second acts as a disruption, always occurring in its original order (with some words missing) and always at the same pitch. The jumbled words are introduced in full or partial sets until the final phrases of the piece, where they are presented in Whitman’s original order:

“I am drawn by its breath as if I am no more than a helpless vapor all falls aside but myself and it.” 

Score: http://bit.ly/2DGd1eZ

Fredonia Art Song Project

Sampson, Sample Rate, Hiraeth

Sampson, Sample Rate, 911 V

Sampson, Sample Rate, Unreasonable IV

Sampson, Sample Rate, HIMMELS-TUR III

Sampson, Sample Rate. so I turned up at Linsey's II

Sampson, Sample Rate, May I, I

Diaphanous Peripheries IV. Diving Hunt

Diaphanous Peripheries III. Sea Canes

Diaphanous Peripheries II. Towers

Diaphanous Peripheries I. Tethered

Left Coast Chamber Ensemble performs Jamie Leigh Sampson - Waving Goodbye (WORLD PREMIERE)(2019)

Commissioned by Kurt Rohde Emerging Composer Fund. World Premiere.

Musicians (left to right): Anna Presler and Liana Berube, violins; Michael Goldberg, guitar; Phyllis Kamrin, viola; Tanya Tomkins, cello; Nikki Einfeld, soprano

Text by Elizabeth Spires. Used with permission. 

November 2019, San Francisco Conservatory
Program: Air from Other Planets, 2019-20 season.

Video: Zach Miley

www.leftcoastensemble.org
www.adjectivenewmusic.com/sampson.html

Jamie Leigh Sampson

Pinned to spotlight

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