Miller - The Duality Of Nostalgia

2015

Composed for the New Juilliard Ensemble

University of Texas at Austin New Music Ensemble
Dan Welcher, conductor
Shih-Yen Chen, clarinet

Kheir - Fantasy for Clarinet and Sinfonietta

Score & Parts: https://www.jackfrerer.com/purchase-scores

Live performance by Ning Zhang (clarinet), KJ Mcdonald (Violin) and Adria Ye (Piano)

Juilliard Composers Concert - Paul Hall, April 18th 2016

Last In, First Out - clarinet, violin, piano

The Juilliard Orchestra, conducted by Jeffrey Milarsky in Alice Tully Hall, April 23rd 2018

On-Again, Off-Again - orchestra

Pharmechanikal For String Quartet (2018)composed by Michael Kirchmayer.

Musicians:
Violin I - Boris Ulanowicz 
Violin II - Madelynn Erickson
Viola - Nina Weber
Cello - Adrian Pang

Recorded on April 23, 2018 by Ben Beckett.
Mixed by Ben Beckett.

Pharmechanikal For String Quartet (2018)

Video: https://youtu.be/obO7uqMYGLs

Performed by the Azure Quartet: Kj McDonald, Brenden Zak, Hannah Geisinger and Yifei Li

Spiral Sequences is a string quartet performed in two movements. The first, the shorter of the two, is frantic and pulse-driven, carried by momentum generated by spiraling 16th note patterns and repeated ostinatos. It presents fragments of a sequence-like pattern, one which is played in its complete form at the beginning of a longer, introspective second movement. The first movement presents an inward spiral, constantly tightening. The second works to unravel it.

Spiral Sequences - string quartet

Video: https://www.youtube.com/watch?v=5SR74rawbyk

Performed by Kevin Zhu, Philip Sheegog and Tengku Irfan

Audio Engineering by Nathan Prillaman
https://www.nathanprillaman.com/

Composition and Mixing by Jack Frerer

Mastered by Ryan Shwabe

Stutter Step - piano trio

"Dark Quirk" by Jennifer Dowling. Performed live in NYC May 2nd, 2019. Aileen Gozali on piano.

Dark Quirk

Happy Birthday Beethoven

Performed at Aspen Music Festival 2019
Aspen Conducting Academy Orchestra
Piotr Waclawik - Conductor


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A Rube Goldberg Machine, is a machine that achieves trivial tasks through an overly inefficient and convoluted process. 

You may have seen “the marble rolling down a track to topple a domino piece that hits a lighter that lights a candle that burns a thread that releases a lever that...” well, you get the point. And all for what? To have the machine finally add some salt to a dish or perform some other trivial task; a task that clearly could have been achieved in a much more straight-forward manner.
 
It’s the complex and innovative way such a machine works, that gives it its raison d’etre. The machine stops being about the outcome, and instead lets us focus on the way that outcome is achieved. Often, the more elaborate, clever, and creative the machine is, the more we enjoy seeing it do its magic. 

It occurred to me that our music is also kind of a Rube Goldberg Machine. On the surface it appears as if the goal is to move from 
dominant to tonic, or from tension to release. Yet, a cadence on its own is hardly a piece. And so, composers find elaborate, clever, and creative manners to get from tension to release, making the process intentionally inefficient for the sake of that journey. A journey that may include twists and turns, and marbles and levers, 
and... you name it. 
 
This is my machine.

A Rube Goldberg Machine

Music from the summer 2019 Odyssey tour of Canada and Spain.

Under Sea, Above Sky

Contrapuntal Forms (2019)

I. Fugue
II. Cantus Firmus - “O rubor sanguinis”
III. Canon

Commissioned by the Fromm Music Foundation at Harvard University

Recording:
October 10-11, 2019, Taplin Auditorium, Princeton, NJ
Andres Villalta, audio engineer
Latitude 49
Jani Parsons, keyboard
Chris Sies, percussion
Andy Hudson, clarinet
Andy Hall, sax
Tim Steeves, violin
Max Geissler, cello

For more info, visit: https://www.juriseomusic.com/contrapuntalforms

Contrapuntal Forms - II. Cantus Firmus

Described as a “rising star” by MusicWorks magazine, JUNO-Nominated composer Jared Miller’s eclectic music is “playful” (New York Times), “hypnotic” (Sequenza 21), “phantasmagorical” (Lucid Culture) and “highly personal” (CBC Radio.) He has worked in collaboration with many ensembles both in North America and internationally including the American Composers Orchestra, the Detroit Symphony Orchestra, the Victoria Symphony, the Kitchener-Waterloo Symphony, the symphony orchestras of Vancouver, Toronto, and Edmonton, the Juilliard Orchestra, Cleveland’s Contemporary Youth Orchestra, the Sneak Peek Orchestra, The Attacca Quartet, Latitude 49 Ensemble, the New York City Ballet’s Choreographic Institute, the Emily Carr String Quartet, Standing Wave Ensemble and a long list of soloists that include pianists Sara Davis Buechner, Jani Parsons, Robert Fleitz and Imri Talgam, and violinist Francisco Fullana. His music has been featured and recognized in the New York Philharmonic’s Biennial (2014), the ISCM World Music Days (2017 & 2019), Vancouver’s Queer Arts Festival (2010, 2015 & 2019) and the Vancouver and Victoria Symphony’s New Music Festivals (2015-2019.)

Upcoming and recent highlights include the US premiere of Ricochet – Reverb – Repeat with the Nashville Symphony, performances of Luster with the Coastal Symphony of Georgia and the Alabama Symphony Youth Orchestra, the premiere of a newly commissioned work for the National Youth Orchestra of Canada, which will be toured throughout Canada and Spain in the summer of 2019, and the premiere of Miller’s first piano concerto, Shattered Night, which was commissioned by the Winnipeg Symphony Orchestra and pianist Sara Davis Buechner.

Miller has won numerous awards for composition that include a 2012 ASCAP Morton Gould Award, the 2011/12 Juilliard Orchestra Competition and three SOCAN awards for young composers (2011, 2015 and 2019.) His orchestral work Under Sea, Above Sky, which was recorded by the National Youth Orchestra of Canada was nominated for a JUNO Award in 2020 for Classical Composition of the Year. He has also been featured as an artist-in-residence at I-Park’s International Artist-in-Residence Program, the Banff Centre, and the Avaloch Farm Music Institute. An active pianist, Miller has performed at a variety of venues including Carnegie Hall’s Weill Hall, Lincoln Center and the Chan Center for the Performing Arts in Vancouver, BC.

As a passionate advocate for musical education and outreach, Miller has taught and performed in several initiatives including The Juilliard School’s Music Advancement Program, the Vancouver Symphony Orchestra Connects Program, the BC Health Arts Society, Vancouver’s Opera in the Schools and for New York’s Opportunity Music Project. He is currently on the composition faculty of New York’s Special Music High School.

Born in Los Angeles in 1988, Miller holds Masters and Doctor of Musical Arts degrees from the Juilliard School where he studied with Samuel Adler and John Corigliano. He has also studied composition with Stephen Chatman and Dorothy Chang and piano with Sara Davis Buechner and Corey Hamm at the University of British Columbia. In 2014 at age 25, Miller was named the Victoria Symphony’s composer-in-residence – a position that he held until June of 2017. He is currently based in New York City where he maintains an active career as a composer and music educator.

Miller - The Duality Of Nostalgia

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