Brian Noyes - Journeys After...

EVOLUTION, the debut release from composer and performer Svjetlana Bukvich on Big Round Records, showcases six original electro-acoustic compositions that incorporate elements of prog-rock, avant-garde, experimental, jazz and world music. Integrating cutting-edge technology with tuning of her own design and her deep classical roots, Bukvich's hybrid sound tells stories of love, loss, trial and triumph in a bold yet sensuous style, breaking boundaries every step of the way. 

April 29 2014 release on Big Round Records

Evolution - Svjetlana Bukvich

Stravinsky - The Rite Of Spring (arr. Chow)

This groove was created only using two short samples samples from an alto flute performed by Sarah Jane Young. 

Flute Groove SJY

Symphony Number One has been a labor of love to organize and we are eager to make a splash with our debut at the Baltimore War Memorial on May 8&9 at 8pm. We hope to see you there!
At Symphony Number One, our mission is to commission, perform, and promote substantial works by emerging composers. We're not what you would typically think of as a contemporary music ensemble, yet we hope to challenge the idea of an orchestra at the same time by consistently performing great classical music right alongside major new compositions. 

(Pledge your support on Kickstarter: http://kck.st/1xbm8uV)

We think we can better serve the composers we feature by focusing on just one emerging composer at a time rather than lumping all of them together onto one concert. Even trained musicians can get overwhelmed by a multitude of new compositional voices presented on one concert; how can we expect our audience to do any better? When this happens, your memories start to get flattened and you tend to only remember features like special effects, strange instruments, or other novelties, rather than to deeper musical layers.

Instead, we want to offer two things to help focus the lens: 1) In general, present only one new work at each concert, framed by other great repertoire. 2) Make that one work the featured work of the concert, make it robust in length and substance, and give listeners time to get to know this composer’s music in a lengthy piece. We don’t see anyone else with an ensemble so specifically devoted to new music by gifted emerging composers while remaining fully a part of the classical tradition; this is where we want to fulfill the need that we see.

On May 8 and 9 we will give the World Premiere of Mark Fromm’s first Symphony alongside the music of Mozart, Schubert and Webern. (Read the press release at http://eepurl.com/biPyGz) We hope you’ll join us for the birth of this exciting new orchestra!

Follow us!
Facebook: http://www.facebook.com/symphno1
Instagram: http://www.instagram.com/symphno1
Twitter: http://www.twitter.com/symphno1

Read the press release: http://eepurl.com/biPyGz
Visit our Website at http://symphno1.com

Pledge your support on Kickstarter: http://kck.st/1xbm8uV

Symphony Number One: An Introduction

Antienne - for two soprano saxophones
Jummei Suzuki

Interpreted by Don-Paul Kahl and Noa Mick

Antienne by Jummei Suzuki - Don-Paul Kahl and Noa Mick

Full release available at: https://tommudd.bandcamp.com/releases

Gutter Synthesis (excerpt)

Saxofones - Philippe Trovão
Electrónica - JLF

SaxBlue -  Jorge Peixinho - Concerto "old is NEW" - 26/11/2016

Tree is a nostalgic piece for four saxophones, inspired by my experiences climbing trees as a child.

Written for and commissioned by the Brazoswood Saxophone Quartet

Tree

Sawdust Application

person falling off a horse

Ñamandu is a musical reflection on the creation myth of the Mbyá, an indigenous people native to central South America. In their folklore, a handful of creatures have been present since the beginning of time; among them is the sacred hummingbird, which sustains the creator deity, Ñamandu, as he creates the earth and the heavens.
Like the Mbyá creation story, all sounds in this piece stem from those present at the beginning: the saxophone (here, the creator), the hummingbird, and later, the owl and the lapacho tree. The listener is made to feel as if in the center of creation, where one may feel the interconnectedness of all things, and perhaps the reflection of divine wisdom.
Ambisonic spatialization places the listener within a surrounding sonic atmosphere, and effects like granular synthesis, compression sidechaining, and real-time polyphony help create a sonic environment where one can envision the primordial “space-time” that the Mbyá told of.

Ñamandu

Joshua Keeling is emerging as an adventurous voice in new music, drawing from tonal, non-tonal, jazz, electroacoustic, and spectral traditions to craft vibrant musical works.
His repertoire includes chamber, orchestral, wind ensemble, and interactive electroacoustic compositions, as well as collaborations with filmmakers, choreographers, and playwrights. His music has been performed both nationally and internationally at a number of venues and festivals including: the North American Saxophone Alliance National Conference, Red Note New Music Festival, the Society of Electro-Acoustic Music (SEAMUS) National Conference, the Toronto Electroacoustic Symposium, the San Francisco Festival of Contemporary Music, and conferences of the Society of Composers, Inc. and the College Music Society. He is a recipient of the Beyer Award in Chamber Music Composition.
He received his D.M. from Florida State University. Additionally, he has studied at the University of Texas at Austin (M.M.), the Hochschule für Musik Carl Maria von Weber (Dresden, Germany), and Belmont University (B.M.).
Dr. Keeling has held teaching positions at Illinois State University, Illinois Wesleyan University, and Collin College.

Ñamandu

Joshua Keeling

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