Excellent piece.  Great perfomance and the piece is full of wonderful colors and textures.  Really beautiful.

This is followed by EMOTIONAL LOGIC - ANGER by the Serbian composer Misha Cvijović (*1984), who lives in Berlin. Her work Emotional Logic, which was premiered as a complete cycle last year by the Zafraan Ensemble, was about giving expression to basic feelings such as fear, disgust, sadness, anger, joy and surprise.

In the wake of the Covid 19 crisis, the project took a surprising turn. Corona protection and quarantine on the part of the contributors became an unplanned constituent factor of the composition. Sound research and self-reflection occurred in a double way: in the real reality of all musicians as well as in the virtual reality of their communication. The georg katzer ensemble Berlin presents a new version of the piece ANGER (Wut), which the composer wrote especially for the georg katzer ensemble Berlin for Festival Klangwerkstatt für Neue Musik Berlin 2021.

Misha Cvijovic - Emotional Logic_ANGER for trompete and ensemble (new version)

close your eyes and think about where you might’ve been on that day; about who you were

meditate on the soft caresses of childhood for ~12 mins - just try, for me

meditation on june 18th, 2004

Written for the JACK Quartet at New Music on the Point (NMOP) in June 2023

Sound engineer: Brian Riordan

--

“i know the story of a rose.” is part of a series of works inspired by Clarice Lispector’s novella Agua Viva. This work in particular draws its musical nature from the intimate and delicate relationship found in the excerpt below:

“I know the story of a rose. Does it seem strange to you to speak of a rose when I am talking about animals? But it acted in a way that recalls the animal mysteries. Every two days I would buy a rose and place it in water in a vase made specially narrow to hold the long stem of a single flower. Every two days the rose would wilt and I would exchange it for another. Until one certain rose. It was rose-colored without coloring or grafting just naturally of the most vivid rose color. Its beauty expanded the heart by great breadths. It seemed so proud of the turgescence of its wide open corolla and of its own petals that its haughtiness held it almost erect. Because it was not completely erect: with graciousness it bent over its stem which was fine and fragile. An intimate relationship intensely developed between me and the flower: I admired her and she seemed to feel admired. And she became so glorious in her apparition and was observed with such love that days went by and she did not wilt: her corolla remained wide open and swollen, fresh as a newborn flower. She lasted in beauty and life an entire week. Only then did she start to show signs of some fatigue. Then she died. It was with reluctance that I replaced her. And I never forgot her. The strange thing is that my maid asked me once out of the blue: “and that rose?” I didn’t ask which one. I knew. That rose that lived from love given at length was remembered because the woman had seen how I looked at the flower and transmitted to her the waves of my energy. She had blindly intuited that something had gone on between me and the rose. That rose-made me want to call it ‘Jewel of my life;’ because I often give things names-had so much instinct by nature that I and she had been able to live each other profoundly, as only can happen between beast and man.”

"i know the story of a rose." for JACK Quartet (June 2023)

WP trailer | International Film Festival Rotterdam 2023
https://www.youtube.com/watch?v=IeIQj8fnr6A

Thirty years after the Yugoslav war and the and the end of communism, men from different countries of the former Yugoslavia are again in the same "bus". They are harvest workers with the hope of a better future and a life of prosperity. They are all on their way to the promised land - Germany. And just when all hope leaves them, the Savior appears to them.

https://www.dffb.de/films/yugotransport-wir-sitzen-alle-im-selben-bus/

Damir Bacikin- trumpet solo
Nenad Jovanovic- accordion solo
Tom Berckman- double bass
Tayfun Schultzke- percussion
Misha Cvijovic- piano

Shortfilm YUGOTRANSPORT (ROUGHMIX)

Schallfeld Ensemble and Pierre-André Valade at Klangspuren Festival in Schwaz, Austria

(For Matt Butler, with thanks to the Nuckolls Family)

https://joshuamastel.com/Birds-fly/

Birds Fly

Pärt: Spiegel im Spiegel (in just intonation)

performed by:

Elijah Spies – viola
Francesco Palmieri – guitar
Jacob Mason – piano
Mikołaj Rytowski – percussion

recorded by Santiago Villar Martín
mixed by Isaac Roth Blumfield

recorded Nov 30, Klaus Linder Saal, Musik Akademie Basel

Underglow | for viola, guitar, piano, percussion, feedback network, and electronics (2022-23)

live at 2640 Space (Baltimore)

live recording of the premiere of "deep terrane (something moves)"

-Ty Bouque [voice]- http://tybouque.com
-Will Yager [bass] - https://willyager.com
-T McCormack [prepared bass drum]

more info:
https://www.timothy-mccormack.com/something-moves
www.timothy-mccormack.com/deepterraneproject

[photo credit: Ian Power - https://ianpoweromg.tumblr.com]

deep terrane (something moves) [2024]

live at 2640 Space (Baltimore); live recording of the premiere

Performed by, written for, commissioned by Ty Bouque [voice]

more info:
http://timothy-mccormack.com/seated-at-the-throat
http://tybouque.com

[photo credit: Hang Su, @oliver_espace]

Seated at the Throat [2023-24]

Superstar (2017)

Dusenberg Recital Hall: April 7, 2019. Senior Recital. 

Nicole Lee: Piano 

Performance: https://www.youtube.com/watch?v=clNRx3CGVNg&t=247s
Score: https://www.youtube.com/watch?v=TkcfTeHKFRs

1.  Fog of the Mind Amid the Dark . . . drifting . . .
2.  . . . in the deep . . .
3.  . . . dreamchase . . .
4.  . . . shards of light . . .
 
Program: Lullabies, Book 1 is inspired by sleep. Each movement evokes sleep and dream phases: drifting into sleep, arriving at the dream state, experiencing a dream, and the conclusion of sleep, waking to shards of light.
     Musically, the piece is soft, tender, and misty, with tense harmonies momentarily interrupting the soft qualities of the music. Movements two and four function as postludes, or reprises, to movements one and three.
     
The four movement layout was deliberate. I wanted to model Lullabies the way Classical composers structured their symphonies. Lullabies clearly does not use Classical forms, but each movement is a character piece, defined by different forms, techniques, textures, etc. The first movement is melodically driven and uses a harmonic accompaniment. Movement two is all harmonies. Movement three has the most distinct character. The music gets big, and is the most texturally complex. Since Bartók, composers have often stayed away from the heroic piano epic that dominated Romantic music. I wanted to explore the possibility of writing a piano piece that harkens to the Golden Age of the genre, all while featuring some new updates. The concluding movement is a stripped down, unaccompanied melody. When listened to closely, you can hear the harmonies from the previous movements, developing simultaneously with previous motives.

Lullabies, Book 1 (2018)

Kristian Josifoski (b. 1996) is a composer and percussionist based in Boston who's interests include: integrating elements of the musical vernacular into a new music idiom, using music as a metaphor for the philosophical concept of difference and repetition, enjoys working with crossfades, proportionality resonance and composed theatre.  

He earned his B.M. in Music Composition at Valparaiso University, and studied composition and theory with Benjamin Krause and Sky Macklay. Kristian has attended workshops and masterclasses by Stefan Ashbury, Joshua Rifkin, Tonia Ko, Jake Runestad, Gaudete Brass, Oystein Baadsvik, Stefon Harris, and Spektral Quartet. He earned his M.A. in Composition at NEC, and studied with John Mallia and Stratis Minakakis.

Lullabies, Book 1 (2018)

Kristian Josifoski

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