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In another's thoughts - II. - Georgiana Adams, Jeffrey Milarsky, Juilliard Orchestra

production: Joy Redmond, Charles Stacy
vocals: Joy Redmond, Lindsay Donat
mixing, mastering: Charles Stacy

all alone - JOYRIDER & fourier

Recorded by Tara Helen O'Connor (flute), Lawrence Dutton (viola), and J.P. Redmond (piano)

Three Literary Snapshots - I. The Radley Place (2015)

Recorded by the NYU ASCAP Film Scoring Workshop Studio Orchestra with conductor Mark Snow

Serenity 2m9 Rescore - NYU/ASCAP Film Scoring Workshop (2014)

Silhouette is a seven-minute, single-movement work written in 2017 for the National Youth Orchestra of the United States of America. The piece is comprised of five sections, which flow seamlessly into one another. The opening, marked “Risoluto,” is of moderate pace but is restless and questioning, with meandering rhythms and harmonies. The next section, “Vivace furioso,” spins the material already stated, careening forward with driving rhythm and relentless energy, which eventually lands back at the opening gesture. This transitions into a slower, more lyrical section, which forms the heart of the piece. A melody introduced by solo horn is taken up with increased ardor by the orchestra. It gradually whirls out of control and reaches a climax, which is abruptly cut off, and the piece launches headlong back into the “Vivace furioso” section. The intensity heightens as never before, building to cacophony. A solo violin, left hanging in the ensuing silence, leads into the coda, which brings the piece to an unsettling yet tranquil close. 

A silhouette refers to something that is vividly and boldly outlined, but is also shadowed and concealed. Also, a silhouette contrasts sharply with its enclosing background, just as the central section of the piece forms a striking contrast with the material that frames it.

Silhouette (2017) - NYO-USA, James Ross

While the germinal ideas were conceived in late 2016, Lachryma was composed in the fall of 2017 and completed on December 31. I wrote this piece for several reasons: first, because I had not written anything for solo piano since the fall of 2014, three years before, and wanted again to explore the instrument in its solo capabilities with fresh taste and imagination; second, as a kind of etude to challenge the performer rhythmically and explore the piano’s rich variety of sounds; and third, to mark the end of a season of my personal and musical life and the beginning of a new one. Lachryma (Latin for “tear”) expresses the idea of a conflict between emotions, with an underlying pulse that can be envisioned as a flow of tears or as a heartbeat. Sorrow, wistfulness, anger, and calm reflection blend together in a whirlpool of introspective struggle, which eventually dies down to an atmosphere of peace.

Recorded at The Juilliard School composers' concert in Paul Recital Hall on February 12, 2018 by pianist Tengku Irfan.

Lachryma (2017) - Tengku Irfan, piano

Imani Winds
     Julietta Curenton, flute
     Toyin Spellman-Diaz, oboe
     Mark Dover, clarinet
     Monica Ellis, bassoon
     Jeffrey Scott, horn
Kenari Quartet
     Bob Eason, soprano saxophone
     Kyle Baldwin, alto saxophone
     Corey Dundee, tenor saxophone
     Steven Banks, baritone saxophone
Fred Sherry, conductor

Recorded live at Lincoln Performance Hall, Portland State University on July 3, 2018 as part of the Chamber Music Northwest Summer Festival.

I. Apprehensive, yet bold – Più mosso, rushed
II. Carefree, yet uneasy
III. Stretched, restless
IV. Wild, possessed
V. Timeless
VI. Revisitation of a wild and possessed state
VII. Strained, unwinding
VIII. Nervous, yet composed
IX. Frantic – With relentless energy

9x9: Nine Pieces for Nonet was commissioned by Chamber Music Northwest for Imani Winds and the Kenari Quartet. Faced with the challenge of writing for the quirky yet exciting combination of wind quintet and saxophone quartet, I decided to structure the piece in the form of nine short movements to mirror the number of instruments in the ensemble. The movements run attacca into one another, and each movement is thematically akin to at least one of the others. The piece is structured in an arch form, with the first four movements culminating in a more expansive fifth, and the last four movements mirroring the first four in reverse order.

9x9: Nine Pieces For Nonet (2018) - Imani Winds/Kenari Quartet

This short Prelude for solo piano was written for my good friend Leah Deobald. In writing this prelude, my aim was to explore some of my recent inspirations using the simplest possible ideas. The piece is based around a major arpeggio (similar to Bach’s well-known C major prelude), which forms a melody both in C major and B major, and a sound world that evokes bells and windchimes. However, the piece also carries vestiges of inspiration from progressive house music, especially deadmau5, in its harmony and recurring chord progressions.

Recorded live at Paul Recital Hall, The Juilliard School, on the February 11, 2019 Composers' Concert.

Prelude (2019) — Leah Deobald, piano

"Variations" was written for my friends and fellow students in Juilliard’s historical performance department: Naomi Dumas and Adam Young, respectively baroque violinist and cellist, and Caitlyn Koester, harpsichordist. I have always been intrigued by the similarities of contemporary and baroque music – including attentions to texture and polyphony and an emphasis on an ensemble with equal, soloistic voices – and therefore wanted to write a piece for period instruments. Though the piece is inspired by baroque form – in this case, theme and variations – and baroque styles, it also blends other influences and idioms from contemporary (and not solely classical) music to create a fusion of past and present. Additionally, it is intended to be performed tuned to A = 415.

Recorded live at Morse Recital Hall, The Juilliard School, on the March 25, 2019 Composers' Concert.

Variations (2019) – Naomi Dumas, Adam Young, Caitlyn Koester

Music: J.P. Redmond
Libretto: Matthew Capodicasa
Director: Kim Kerfoot

Performers:
Maggie Valdman, mezzo-soprano
Johanna Bufler, piano

"Opera in a Bottle" is the fruit of an incredible collaborative program at Juilliard known as OperaComp. Founded by composition alumni Chason Goldschmitz and Aaron Severini, OperaComp gives student composers and playwrights from the school’s drama division the opportunity to team up and create new opera scenes, which are then staged by directors and performed in a blackbox theater. I was lucky to be paired with the wonderful Matthew Capodicasa (librettist) and Kim Kerfoot (director), and two brilliant performers, Maggie Valdman (mezzo-soprano) and Johanna Bufler (piano), and I am grateful to all of them for their superb work on this scene and for making my first stage work such an enriching experience.

SYNOPSIS
When Annie is six and stuck in a house by the sea with her dad and his new girlfriend, she discovers a message in a corked wine bottle washed up on the beach. Ten years later, when she’s sixteen and back at her dad’s, Annie discovers the wine bottle where she hid it all those years ago. And ten years after that, Annie returns to the house in the wake of tragedy and finds the message in a bottle once more. Is Annie the intended recipient of this message? What does it mean that she’s held onto it for so many years, and what responsibility does she have to the person who wrote it? (Matthew Capodicasa, 2019)

Recorded live at the Ellen and James S. Marcus Vocal Arts Studio, The Juilliard School, on the March 24, 2019 OperaComp concert.

Opera in a Bottle (2019) - Maggie Valdman, Johanna Bufler

Text and Translation:

Sanctus, sanctus, sanctus
Dominus Deus Sabaoth
Pleni sunt cæli et terra gloria tua 
Hosanna in excelsis
Benedictus qui venit in nomine Domini 
Hosanna in excelsis

Holy, holy, holy 
Lord God of hosts 
Heaven and earth are full of your glory 
Hosanna in the highest 
Blessed is He who comes in the name of the Lord 
Hosanna in the highest

Program Notes:

Sanctus was commissioned by and written for The New York Virtuoso Singers and director Harold Rosenbaum. Given the exact number of 16 singers, I settled on writing an independent part for each voice to create textures inspired by polyphony both old and new. The text idea came after I had already developed some musical material, which I realized would work well with the Sanctus text. Though the piece begins much more subdued than most settings of the Sanctus, the joyousness of the text gradually shines through in the music and builds to an exuberant end.

The New York Virtuoso Singers
Harold Rosenbaum, conductor

Recorded live on November 9, 2019 at The ASCAP Foundation
Morton Gould Young Composer Awards Concert at St. Michael's Episcopal Church, Manhattan

Sanctus (2019) - New York Virtuoso Singers, Harold Rosenbaum

Juilliard Orchestra
Jeffrey Milarksy, Conductor
February 20, 2020 at Alice Tully Hall

"fractured orbits" was written in summer/fall 2019 for the Juilliard Orchestra. The title arises from the concept of examining one’s own thought processes, which as a composer is often a helpful form of self-reflection. I find that if we are able to make ourselves better aware of these thought processes, especially those used in making music, it allows us to harness the power of intuition more creatively and efficiently. While the piece does not attempt to depict any particular mental states literally, it appeared to me to fit the idea of cycles, or orbits, that return and are constantly being fragmented and transformed. This process, which happens nonstop in the brain, is recreated in the treatment of musical motives and gestures. In terms of form, I wanted all the players to have a soloistic part; thus the piece is a sort of concerto for orchestra.

While I was working on this piece, my teacher of two years, Christopher Rouse passed away. His sudden passing impacted me deeply, and I tried hard to focus on how thankful and fortunate I was to be touched by his wonderful humanity and mentorship. Several influences from him and his many listening assignments crept into the piece, which is dedicated with gratitude to his memory.

fractured orbits (2019) - Juilliard Orchestra

playing around with Drum Pad Machine on iPad Pro

purposely non-quantized

bubblegum

Drums, percussion, keyboard bass, saxophones, melodica: Louis A. Josephson
Piano, keyboards: Joy Redmond

Composed by Joy Redmond
Produced by Louis A. Josephson

Unmanageability - feat. Louis A. Josephson

Joy Redmond (she/her) is a composer and musician based in New York City. She holds master’s and bachelor’s degrees from The Juilliard School, where she studied composition with Matthias Pintscher. Currently, Joy’s musical pursuits include composing for concert, stage, and media works, collaborating with other artists as a producer and arranger, and performing on keyboards in a variety of genres.

Joy Redmond

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