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

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

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

Have you ever heard a story that gets bigger in every retelling of it?

Andrew Seigel, clarinet
Rosch Recital Hall
SUNY Fredonia
October 20, 2021

211020 Faculty Composers

The Retelling of It • Andrew Seigel, clarinet

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

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

Gathered Fragments

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

Soprano, Amanda Deboer Bartlett and the BGSU Philharmonia

The Body Electric for Soprano and Orchestra

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

(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

Frozen Landscape is an exploration of gesture in a unilinear environment. Originally a two-minute exercise in composition written in 2004, this work uses an ordered set of gestures, derived from several of Beethoven’s piano sonatas, to control the exposition of phrase shape. Control over pitch class was not a central focus until, after several years, I decided to revise the exercise into a full composition. This allowed me to expand the dramatic range, fully exploiting the melancholy expressiveness of the bassoon. Frozen Landscape is included on Beauport Classical’s CD Collaboration II: Fleeting Visions, which was released in 2008.

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

Frozen Landscape

Amanda DeBoer Bartlett, soprano
Anne Kissel, piano

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

Fredonia Art Song Project

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

Sampson, Sample Rate, May I, I

Premiered by the Fifth Circle Reed Quintet
Ava Wirth - Oboe
Kendra Sachs - Clarinet
Andrew Hosler - Saxophone
Jennifer Bouck - Bass Clarinet
Nicole Grimone - Bassoon

Unequal Measure

Diaphanous Peripheries IV. Diving Hunt

Diaphanous Peripheries III. Sea Canes

Diaphanous Peripheries II. Towers

Diaphanous Peripheries I. Tethered

Concealed Imaginings was written for the Quince Contemporary Vocal Ensemble. The text is from Wallace Steven’s four poem work Peter Quince at the Clavier.

Performed by Quince Contemporary Vocal Ensemble

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

Popular tracks by Jamie Leigh Sampson