A wonderfuly expressive blend of tonality with medieval and mondern elements. Sioux City Symphony has programmed this concert for tonight and Patrick O'Malley is here. Lonliness in a Beatuful Place! http://www.siouxcitysymphony.org/Portals/0/Guest%20Artists/Patrick%20OMalley%20bio%20-%20web.pdf?ver=2018-01-16-105623-423

Such a beautiful piece! Thank you for creating this.

orchestral

background music from the video game "Reveal," designed by Marie Lazar.

game website: www.pixelbutterfly.com/reveal.html

Heart Chamber (dark, ominous)

Sonata a 4 Mains-Rustique/Poulenc

Live performance of the US Premiere of Chen Yi's viola concerto, Xian Shi, with Michael Hall, viola and the Chicago Composers Orchestra. Matthew Kasper, conductor.  Xian Shi is the first viola concerto written by a Chinese composer. 

Chen Yi –  "Xian Shi" Concerto for viola and orchestra. American Premiere

From the new album of Mason Bates' symphonic music with the Boston Modern Orchestra Project. Released Dec 2015, it features numerous pieces that have never been released before. 
Purchase the album on iTunes (http://apple.co/1NYzF0W), Amazon (http://amzn.to/1NJuHn1), Google Play (http://bit.ly/1RddG6N) or the BMOP site (http://bit.ly/1M68IRF). 

Sea-Blue Circuitry - BMOP (excerpt)

9-10 minutes. String orchestra (Vln I, Vln II, Vla, Vcl, DB). Performed by USC Thornton School of Music musicians, conducted by the composer.

Beautiful places and spaces are inherently mysterious. The music in the piece is meant to depict not a specific landscape, but the experience of exploring a new place. Questions turn to discoveries as the soloists ruminate on what is before them. After a while the music embraces the search, scaling a mountain of notes before returning to meditation.

Loneliness In A Beautiful Place (for string orchestra)

Thornton Symphony Orchestra 
Donald Crockett, conductor 
Chang He, concertmaster

Click here to read more about "Restrung:"
https://tsdoughertycomposer.com/orchestra/#Restrung-Jump

Restrung

Liminal (2018) for orchestra
Performed by the USC Thornton Symphony
Conducted by Donald Crockett
02/23/2018

There exists a period of activity between wakefulness and sleep where the frameworks we use to understand the world around us begin to break down. Liminal (2018) for orchestra explores the concept of in-betweenness from a number of angles, aiming primarily to reflect the psychological behaviors people experience in transitional states. Just as our thoughts can cycle, intrude, drift, or become suddenly focused, musical materials behave in combinations of predictable and unpredictable manners relative to a number of genre contexts.

Liminal (2018) for orchestra

Rictus for Mixed Ensemble
by Dan Caputo

Patrick O'Malley, conductor
Emma McCartney, alto flute
Nick Davies, bass clarinet
Theo Haber, violin
Cristina Basili, cello
Tyler Eschendal, percussion

Rictus (2016) for mixed ensemble explores a range of uneasy and semiconscious mental states through constrained and coerced musical behaviors. Defined as a forced grimace or smile, a rictus is both the face of a person in an undesirable social situation and the result of sudden dismay, discomfort, or dreamlike contentment.

Audio by Adam Borecki and Nick Volpert
http://adamborecki.com/recording

http://www.dancaputo.com

Rictus

Duo (2017) for Baritone Saxophones

Performed by Robert Alexander and Isaac López
Cammilleri Hall
University of Southern California
3/8/2018

Audio by Adam Borecki and Nick Volpert
http://adamborecki.com/recording

www.dancaputo.com

Duo (2017) for Baritone Saxophones

felt cute ☺️ might delete later

GLITCH (2019)
for mixed quartet (clarinet, violin, cello, and piano)

Revised quartet version commissioned by Music from Copland House
(Previous piano trio version commissioned by ÆPEX Contemporary Performance)


Performed by Music from Copland House:
Moran Katz (clarinet), Pala Garcia (violin), Alexis Gerlach (cello), and Peggy Kampmeier (piano)

Copland House’s CULTIVATE Residency concert
Merestead, Mt. Kisco, New York - June 9th, 2019


program notes:

GLITCH is a playful take on a record player skipping when playing a track, causing portions to loop unevenly or to be jumped over entirely. While this experience may be frustrating when it happens, it also recontextualizes the material from the existing track, creating a unique listening experience with the same sounds. Using off-kilter and “screwed up” grooves and glitchy ostinato patterns, the piece attempts to portray this sonic phenomenon to take the performers and listeners on a playful, fun, and wild ride.

This work was written for CULTIVATE 2019, Copland House’s emerging composers’ institute, and was premiered by the Music from Copland House ensemble at the Merestead estate in Mount Kisco, NY on June 9, 2019. Many thanks to Music from Copland House for commissioning this piece.

GLITCH

Performed by China National Centre for the Performing Arts Orchestra, conducted by Lü Jia on October 6, 2019 at the National Centre for the Performing Arts, Beijing.

Heaven and Earth revive,
and falls the rain upon all.
Breathing the spirit of this world,
grateful.
​
天地复苏
雨落咸安
呼吸万物的气息
感恩

Spiritus 气息 (orchestra)

…remnants… is based on several chord progressions that I composed at different points over the past two years. Memories are often associated with sensory stimuli, and for me the music that arises from these chord progressions is evocative of the various individual moments in time when I first conceived of them. This piece functions as a window into the past, a sonic depiction of reminiscence that encompasses the range of moods and emotions I experienced in my life during those times. To amplify this idea, …remnants… also includes ambient recordings of various spaces that I frequented while composing the piece. I imagine this as a second layer of engagement with the concept of memory: in listening to the piece, you’re hearing not only the music and chord progressions that I’ve associated with different points in my past, but also the soundscapes that I experienced while in the process of composing the work itself—a new memory in its own right.

Performed by Front Porch:
Benjamin Jackson - Violin
Maddy Wildman - Bassoon
Karalyn Schubring - Piano/MIDI Keyboard
Jacob Rogers - Percussison/MIDI Keyboard

...remnants...; for violin, bassoon, piano, percussion, and electronics

for Orchestra (in 4 scenes)

I. We Shall Fight (0:00-5:52)
II. Burgeon of Strength (5:53-9:17)
III. Noble Morn (9:18-14:20)
IV. The March (14:05-19:06)

CHURCHILL'S WAR for Orchestra is the next in my series of works in the realm of music and speech, exploring the inward affect of their shared physical traits (pitch, rhythm, and amplitude). The piece highlights Churchill's stirring vocal performance. Occasionally, orchestral sonorities are combined with processed recordings of Churchill's speech, weaving together sonic textures and illuminations, viscerally re- contextualizing Churchill's oration while revealing connections between melody and text.

DREW SCHNURR (2013)

Churchill's War

"Triboluminescence" is an optical phenomenon in which light is generated through the breaking of chemical bonds when a material undergoes frictional contact, such as being crushed, ripped, scratched, or rubbed. It is famously observable when crunching on Wint-O-Green Life Savers in front of a mirror in the dark. While this piece is not programmatic, I imagine its gestures and morphing sound-world as being evocative of the phenomenon--exploring the conundrum of a material being battered and deformed in various ways, yet somehow ending up transformed into a more luminous state.

Performed by the Indiana University New Music Ensemble

Triboluminescence; for sinfonietta

Kangyi has performed on various stages in Singapore, Malaysia and the United States. As a composer, his music are often programmatic and based on personal life and experiences. He also aims to raise public awareness on important historical events. 

Music Scores: http://kangyimusic.storenvy.com
Music Licence: http://www.pond5.com/artist/protestahkang971
Music Services: http://www.kangyizhang.com/freelance.html
SoundCloud: http://www.soundcloud.com/kangyi-zhang
YouTube: http://www.youtube.com/kangyiflute

Patrick O’Malley is a composer of orchestral, chamber, and media music. He is inspired by mysterious dichotomies in nature and art, writing music that often embraces abstract worlds and emotions rather than concrete images. Through balancing challenging techniques and traditional expression, O’Malley’s goal is to ignite the listener’s imagination and memory in enduring ways. His works have been performed across the United States and also in Europe.

Most recently, O’Malley has been recognized or performed by organizations including the Albany, Minnesota, Ft. Wayne, and Milwaukee Symphonies, the Los Angeles Philharmonic’s National Composer Intensive, The ASCAP Morton Gould Award, and The Aaron Copland House Residency. He was named Composer of the Year by the Sioux City Symphony in 2018, and made his Carnegie Hall debut with the New York Youth Symphony in 2021. O’Malley also serves as the arranger and a conductor for the video game concert series Journey LIVE with composer Austin Wintory. O’Malley completed his masters and doctoral degrees in music at the University of Southern California where he studied with Andrew Norman and Sean Friar. He divides his time between living in Los Angeles California, and Lake Charlevoix, Michigan.

Loneliness In A Beautiful Place (for string orchestra)

Patrick O'Malley, composer

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