This is the recording of the premiere of my choral piece "The Cloths of Heaven."  It was commissioned by and premiered by the UW Oshkosh Chamber Choir under the direction of Eric Barnum on 5/5/13.  "The Cloths of Heaven" is an introspective setting of William Butler Yeats' poem,
Aedh Wishes for the Cloths of Heaven, from his third volume of poetry, The Wind Among the Reeds. The musical material for the work is derived from a certain sound, what I entitled the "cloth." This is an aural representation of an image that came to mind while I was studying the text of the poem. Yeats' work speaks of a heavenly cloth, embroidered with gold and silver light. It also contains other colors and moods, such as the blue, the dim, and the half light. While contemplating these words, this cloth image began to form. Imagine a black tapestry, slowly swaying back and forth. In it appear these little lights, possibly gold and silver.  However, upon closer examination, one realizes that the cloth is organic and that these simple lights that seemed inconsequential at first are actually real stars and swirling galaxies, fluttering with life. This image is represented by the harmonies and melodies throughout the piece. The use of the lowered 6th and cluster harmonies convey this intimate and intricate sense of cosmic beauty. The final, aleatoric section of music is the embodiment of this cloth. The narrator of the poem observes these majestic cloths and wishes that he had them. However, all he has are his dreams. They have the potential to become this magnificent gift, but he is meek, and thus they are nothing more than aspirations. It is because of this that the "cloth" sound occurs on dreams, this word of dormant possibility.

The Cloths Of Heaven

This is the studio recording of my first composition, a string quartet entitled "May They Rest In Peace."  This was recorded by a fantastic sound engineer, Ashley Valentine, and performed beautifully by Craig Heckner on Violin 1, Matthew Muelling on Violin 2, Julie Handwerker on Viola, and Matthew Abraham on Cello.

"May They Rest In Peace" is a contemplative three movement programmatic work concerning death and the idea of life after death. Its initial inspiration came from the passing of a family friend. This man, a priest, was a very caring person, and I felt moved to honor him through music. As the concept for the piece began to take shape, my grandmother fell ill and ultimately passed away. As I dealt with her death, the idea of the spirit and it's journey began to form in my mind. This work is dedicated to both of them.

Quasi Chant
This movement is based on the linear polyphonic writing of the Renaissance era. The opening Cello motive invokes an image of a priest chanting in an incense-filled cathedral. As the theme sets the sorrowful mood of those mourning the loss of a loved one, the other voices enter, creating a beautiful polyphonic texture that comes to a close with a final restatement of the
theme by the Cello.

Con Fuoco
The main rhythmic motive for this movement is crafted from the Dies Irae Gregorian chant. This movement has a dual meaning. On the one hand, the fast and rhythmic mood attempts to portray the anger that one feels at the loss of a loved one. It also represents the trials and tribulations of the world with the more melodic motive being the spirit attempting to enter Heaven. As the Viola and Violin 2 attempt to hearken back to the theme from the previous movement, the rhythmic undertone constantly seems to pull it downwards. This dialogue between all four parts culminates in an aleatoric section where a hint of the chant motive from the first movement is heard. As the upper three voices fall, the Voice of God breaks through. The rhythmic undertones attempt to overtake the texture once more, but the melody in the
Violin 1 soars above as the spirit ascends.

In Pacem
As those left on Earth are mourning, the spirit enters heaven. This place of comfort is revealed by a new theme presented in a tranquil solo by the Cello. This melody is crafted from a Renaissance cadence. The Voice of God motive returns, but in a joyous celebration of celestial peace. A serene rhythmic motive, presented initially by the Viola, drives the movement to a moment of pure wonder. As the voices fade out, the spirit rises. At last, the dearly departed has finally found peace.

"May They Rest In Peace"

This was the live recording of my brass quintet, entitled Dark Sun, from my senior recital.  This was performed by the Horizons Brass Quintet, and is dedicated to Matthew Onstad, Matthew Bragstad, and Charlie Bloom.

"The image of a star, burning in glorious blaze in the silence of space, has mesmerized countless cultures around the world for thousands of years. The sun is the bringer of light, the source of all life on Earth. Even though it currently flames a marvelous yellow, it will one day phase into a magnificent red giant, the end of its celestial life cycle. Although we have only ever known our sun, that tremendous and mighty star is only one amongst a myriad of luminous solar bodies. Across the night sky, there are stars that burn yellow, some that burn white. There are rare others, however, that burn blue. These ghostly beings glow in the recesses of space. If an ethereal, interstellar entity such as that was seen in the sky by a civilization, how might they envision their sun? Would they view it as cold and powerful, an azure deity? Might they even worship it with humble canticles? Or would this Dark Sun simply rage on in the darkness of space..."




Dark Sun

This was the live recording of my piece for Euphonium and Fixed Electronics, entitled Time and Space, from my senior recital.  It was performed by Matthew Bragstad, and is dedicated to my professors: Dr. Ed Martin and Dr. Bruce Atwell.  The voice in the electronics belongs to Dr. Nathan Krueger.

Time and Space is a work for Euphonium and Fixed Electronics that aurally represents the reverence humankind has held for the cosmos. The Electronics reproduce the vast cradle of the Universe as the Euphonium line creates a weaving, cosmic melody. At times, one can hear the primordial hum of the early Universe. In other moments, the galaxies themselves seem to sing an elemental chorus. Through the whole of the work, an ancient and omnipotent voice recites texts full of wonder and wisdom. The words are variations on poetic verses written by the late Dr. Carl Sagan, Dr. Neil deGrasse Tyson, and the Greco-Roman intellectual Ptolemy. Each of these individuals held great respect and admiration for the beauty of the cosmos, and it is their writings that inspired the work. In the end, the piece affirms and epitomizes their thoughts on the Universe:  
“Some part of our being knows this is where we came from. We long to return, and we can because the cosmos is also within us. We're made of star stuff.” -Carl Sagan

Time and Space

This was the live recording of my string quartet, entitled "May They Rest In Peace," from my senior recital.  It was performed by the UW Oshkosh String Quartet: Craig Heckner, Joseph Kerkhof, Julie Handwerker, and Matt Abraham.  It is dedicated to my Abuelita and Fr. Charles Bisgrove.

"May They Rest In Peace" is a contemplative three movement programmatic work concerning death and the idea of life after death. Its initial inspiration came from the passing of a family friend. This man, a priest, was a very caring person, and I felt moved to honor him through music. As the concept for the piece began to take shape, my grandmother, a very religious person, fell ill and ultimately passed away. As I dealt with her death, the motivic idea of her spirit and it's journey began to form in my mind. This work is dedicated to both of them.

Quasi Chant
This movement is based on the linear polyphonic writing of the Renaissance era. The opening Cello motive invokes an image of a priest chanting in an incense-filled cathedral. As the theme sets the sorrowful mood of those mourning the loss of a loved one, the other voices enter, creating a beautiful polyphonic texture that comes to a close with a final restatement of the theme by the Cello.

Con Fuoco
The main rhythmic motive for this movement is crafted from the Dies Irae Gregorian chant.  This movement has a dual meaning. On the one hand, the fast and rhythmic mood attempts to portray the anger that one feels at the loss of a loved one. It also represents the trials and tribulations of the world with the more melodic motive being the spirit attempting to enter Heaven. As the Viola and Violin 2 attempt to hearken back to the theme from the previous movement, the rhythmic undertone constantly seems to pull it downwards. This dialogue between all four parts culminates in an aleatoric section where a hint of the chant motive from the first movement is heard. As the upper three voices fall, the Voice of God breaks through. The rhythmic undertones attempt to overtake the texture once more, but the melody in the Violin 1 soars above as the spirit ascends.


In Pacem
As those left on Earth are mourning, the spirit enters heaven. This place of comfort is revealed by a new theme presented in a tranquil solo by the Cello. This melody is crafted from a Renaissance cadence. The Voice of God motive returns, but in a joyous celebration of celestial peace. A serene rhythmic motive, presented initially by the Viola, drives the movement to a moment of pure wonder. As the voices fade out, the spirit rises. At last, the dearly departed has finally found peace.

This was the live recording of my song cycle, entitled the Universal, from my senior recital.  It was performed by Joel Rathmann and Martin Vajgrt.  It is dedicated to the both of them, as well as my father.

The poetry of Walt Whitman's magnum opus, Leaves of Grass, breaks temporal boundaries and speaks to those born long after his time. This set of songs is compiled from five of those poems.  "the Universal" is a pensive contemplation on the multiple facets of life, including who we are, what our purpose is, and what we experience at the end of our days. These poems also tell of a greater connection between all that exists. This concept, this "universal," is more than just health, peace, and salvation. It is timeless and spaceless, more than the fundamental framework and structure of our world. This cycle of songs searches for an answer, an understanding of that unexplained connection that entwines every living being.

I. “Come said the Muse...”
Come said the Muse,
Sing me a song no poet yet has chanted,
Sing me the universal.
In this broad earth of ours,
Amid the measureless grossness and the slag,
Enclosed and safe within its central heart,
Nestles the seed perfection.
By every life a share or more or less,
None born but it is born, conceal’d or unconceal’d, the seed is
waiting.

II. “That shadow my likeness...”
That shadow my likeness that goes to a fro seeking a
livelihood, chattering, chaffering,
How often I find myself standing and looking at it where it
flits,
How often I question and doubt whether that is really me;
But among my lovers and caroling these songs,
O I never doubt whether that is really me.


III. “Roaming in thought...”
Roaming in thought over the Universe, I saw the little that is
Good steadily hastening towards immortality,
And the vast all that is call’d Evil I saw hastening to merge
itself and become lost and dead.

IV. “This is thy hour O Soul...”
This is thy hour O Soul, thy free flight into the wordless,
Away from books, away from art, the day erased, the lesson done,
Thee fully forth emerging, silent, gazing, pondering the themes
thou lovest best,
Night, sleep, death and the stars.

V. “Enclosed in Time and Space...”
Give me O God to sing that thought,
Give me, give him or her I love this quenchless faith,
In Thy ensemble, whatever else withheld withhold not from us,
Belief in plan of Thee enclosed in Time and Space,
Health, peace, salvation universal.

Is it a dream?
Nay but the lack of it the dream,
And failing it life’s lore and wealth a dream,
And all the world a dream.

the Universal

This was the live recording of my choral piece, entitled Luc, from my senior recital.  It was performed by the UW Oshkosh Chamber Choir under the direction of Dr. Eric Barnum.  Joel Rathmann was the soloist.  It is dedicated to AJK, DAK, and MJK.

Luc: Fait pour la nuit de Noël (2013)
Luc is a setting of the simple yet profound text that tells the story of the angel Gabriel and his message of a newborn savior. The richness of emotions found in this literary passage compliment the holiday season quite well. In just a few lines, there are moments of joy, wonder, and peace. At times, it seems that the goodwill and harmony that one attempts to embrace during this festive season becomes lost amidst the chaos of it all. Sometimes it takes a simple little carol to help us rediscover the inauspicious beauty of this time of the year. In setting the French version of the text, this assists in conveying the universal human concepts of Peace on Earth and Goodwill to all People.

LUC 2: 9-14
French:
Voici, un ange du Seigneur leur apparut et la gloire du Seigneur resplendit autour d'eux. Ils furent saisis d'une grande frayeur.  Mais l'ange leur dit:  
"N’ayez pas peur, car je vous annonce une bonne nouvelle qui sera une source de grande joie pour tout le peuple: Aujourd'hui, dans la ville de David, il vous est né un Sauveur qui est le Méséya, le Seigneur.  Voici à quel signe vous le reconnaîtrez: vous trouverez un nouveau-né enveloppé de langes et couché dans une mangeoire.”  
Et tout à coup apparut, aux côtés de l'ange, une multitude d'anges de l'armée céleste qui chantaient les louanges de Dieu: 
"Gloire à Dieu au plus haut des cieux, et paix sur la terre aux hommes qu'il aime."

English:
Behold, an angel from the Lord appeared to them and the glory of the Lord shone around them.  They were seized by a great fear.  But the angel told them: 
"Have no fear, for I bring you glad tidings that will be a source of great joy for all.  Today, in the city of David, a Savior is born, who is the Messiah, the Lord. Here is how you will recognize him: You will find a newborn, wrapped in swaddling clothes and laying in a manger.”  
And suddenly, around the angel, a multitude of angels from the celestial army started singing the praises of God: 
"Glory to God in the highest heaven, and peace on Earth, and to the people he loves.”
-Translation by Nadia Louar

Luc: fait pour la nuit de Noël

This was the live recording of my choral piece, entitled "The Cloths of Heaven," from my senior recital.  It was performed by the UW Oshkosh Chamber choir under the direction of Dr. Eric Barnum.  Sarah Flaschberger was the soloist.  It is dedicated to Alec.

"The Cloths of Heaven" is an introspective setting of William Butler Yeats' poem, Aedh Wishes for the Cloths of Heaven, from his third volume of poetry, The Wind Among the Reeds. The musical material for the work is derived from a certain sound, what I entitled the "cloth." This is an aural representation of an image that came to mind while I was studying the text of the poem. Yeats' work speaks of a heavenly cloth, embroidered with gold and silver light. It also contains other colors and moods, such as the blue, the dim, and the half light. While contemplating these words, this cloth image began to form. Imagine a black tapestry, slowly swaying back and forth. In it appear these little lights, possibly gold and silver. However, upon closer examination, one realizes that the cloth is organic and that these simple lights that seemed inconsequential at first are actually real stars and swirling galaxies, fluttering with life. This image is represented by the harmonies and melodies throughout the piece. The use of the lowered 6th and cluster harmonies convey this intimate and intricate sense of cosmic beauty. The final, aleatoric section of music is the embodiment of this cloth. The narrator of the poem observes these majestic cloths and wishes that he had them. However, all he has are his dreams. They have the potential to become this magnificent gift, but he is meek, and thus they are nothing more than aspirations. It is because of this that the "cloth" sound occurs on dreams, this word of dormant possibility.

“Aedh Wishes for the Cloths of Heaven”
Had I the heavens’ embroidered cloths,
Enwrought with golden and silver light,
The blue and the dim and the dark cloths,
Of night and light and the half-light,
I would spread the cloths under your feet:
But I, being poor, have only my dreams;
I have spread my dreams under your feet;
Tread softly because you tread on my dreams.

"The Cloths Of Heaven"

This is the premiere performance of my work for solo horn entitled "from the Ether," performed by my friend Ignacy Gula.

One of the great things about going to school with such a variety of people is that you may have the opportunity to do something that you otherwise never would have thought of. During the first year of my master’s program, I became friends with a gentleman by the name of Iggy. Iggy was a fantastic horn player with an affinity for multiphonics. He asked my to write a piece for his senior recital, one that he could then take with him back to his native Germany when he left in the spring. So I decided to approach this purely instrumental work in a nonconventional way: I decided to write out two lines of poetic text and then compose music based on feelings and thoughts associated with those words.

“from the Ether comes the call of uncounted voices;
beckoning those who voyage past oblivion’s shroud.”

-N (2015)

from the Ether

This is the live recording of the premiere of my work, "Arise, My Beloved" for unaccompanied women's choir.  It was commissioned by my friend Grace Hennig for the Martin Luther College Women's Choir.  This recording features a special version of the composition, written specifically for their Easter concert.  It includes an extra soprano solo in the beginning, as well as added text by her friend Laurie Gauger.

"When I was asked by my wonderful friend Grace Hennig to compose a piece for the Martin Luther College Women’s Choir, I immediately knew what text I wanted to set. The poetic words of the Song of Songs have inspired many throughout the millennia. These beautiful lyrics speak of love, passion, joy, and life. The text begins with a single word from one’s beloved: “Arise.” This beckoning call becomes the motive that encapsulates the rest of the text. Through aural representations of springtime, nature, and the turtledove’s song, a truly joyous image is heard. When the piece returns to the opening phrase, we are left with a single whisper: 'Come away.'"

Arise, My Beloved

Nicolás Gutiérrez (b. 1991) is a Chicago-based composer whose music is driven by the interaction between voices, alluring melodies, and rich harmonic textures.  He is currently pursuing his Master's in Music Composition at the Chicago College of Performing Arts at Roosevelt University where he studies under Dr. Kyong Mee Choi and Dr. Stacy Garrop.  During his undergraduate studies, he studied composition with Dr. Ed Martin, Dr. David Dies, and Dr. Eric Barnum, as well as horn with Dr. Bruce Atwell.  He has received commissions and performances from ensembles and organizations such as the University of Wisconsin-Oshkosh Chamber Choir, the Ronald Reagan IB High School Music Department, and the Oshkosh West High School Music Department.  An active performer as well, he held the principal horn position in the UW Oshkosh Symphony Orchestra and the UW Oshkosh Wind Ensemble.  His collegiate brass quintet has performed throughout Wisconsin, performing for various audiences and venues.  He currently works as a teaching assistant in the musicianship department at Roosevelt, and has worked as a theory and ear training tutor.  Recently, he received a grant through the Dean's Fund for Excellence to attend Europa Cantat XIX, a choral and composition festival in Hungary.

Nicolás Gutiérrez

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