Don Quixote Concerto (2021), Memories of a knight errant for a pianist, his assistant and a chamber orchestra

Performed by SWR Sinphonieorchester conducted by Pablo Rus Broseta
Piano: Christoph Grund - Assistant and percussion: Jochen Schorer
Recorded live at ECLAT Festival in Stuttgart on February 6th, 2021

Don Quixote Concerto (2021), Memories of a knight errant

With tasting the forbidden fruit the human eyes got opened. What pain was felt clearly seeing their unfaithfulness surrounded by all of the divine glory?
It makes the human close her poor eyes.
And the human still tries to love, but he has closed his aching heart.
It leads them only further in darkness.
Is there a way out without opening again their abandoned eyes and hearts?

The piece dies like the old law [by the feet of Hope].

Closed Eyes; Closed Heart. for string quartet

I really think this is the closest embodiment of "me" my music has ever been. It has piano and strings, uses afro and western elements as well as attributes of the times such as EDM textures too. Honestly, before "me" there is the brain that is able to pick up on these patterns and manipulate them into something greater... I am truly astounded by human capability, hope you never forget that. We are truly sources of love and light, at least that's how I'd like to be. I think this music captures that perfectly.

Catharsis

"Rapture of Joy" is the first piece for full Orchestra that I have written so far. With this work I graduated in Master Degree of Classical Composition at the Estonian Academy of Music and Theatre.  After the analysis of the First Symphony of Lepo Sumera I had the idea to think music and form mainly from a sound and timbre point of view. This idea would generate harmonies and form by consequence. Some features of electroacoustic music are also present, although the piece remains strictly classical and tonal. Hope you enjoy it.

Conductor: Toomas Vavilov
Perfomers: EMTA students orchestra

Rapture Of Joy

Nina Sivachenko (violin), Iryna Aleksiychuk (piano)

"So close..." for violin and piano

Premiered at the inaugural concert of the Cumnock Tryst International Summer-School for Composers, 10 August 2024, Dumfries House, Ayrshire, Scotland

Scott Lygate, contrabass clarinet
Gordon Bragg, violin
Ruth Gibson, viola
Christian Elliott, cello

Recording provided by The Cumnock Tryst
Many thanks to Björn Heile, Helina Sommer, and Sarah Watts for the pictures they provided me before my own visit to the Highlands. I am indebted to the composition faculty of the course - James MacMillan, the artistic director of the Cumnock Tryst festival, and Oscar Bettison - for their invaluable advice and mentorship, which helped my exploration of space and silence in this piece to reach its full potential.

Many abstract paintings deliberately eschew clear detail, exciting the mind through mere artistic suggestions of an object or person, Likewise, "Highlandscapes" seeks to depict the vastness, beauty and ruggedness of the Scottish Highlands through a variety of isolated sounds and the emotions and perceptions associated with them, constructing a fragmentary narrative that seeks to engage the imagination. In writing this piece, I not only visited and hiked in the Highlands myself but also gathered a variety of photos depicting the region from friends and acquaintances prior to visiting, seeking abstract associations through the literal lenses of others.

Highlandscapes for (contra)bass clarinet and string trio

Philippe Hurel CHORUS (2022-23) 
Yubeen Kim 
Bochumer Symphoniker conducted by Tung-Chieh Chuang

Philippe Hurel CHORUS (2022-23) Yubeen Kim, flute - Bochumer Symphoniker, cond. Tung-Chieh Chuang

Tratti da "Studi modulari" per sax, i "3 Studi sulla ciclicità" sono eseguibili da  3 legni a libera scelta. Qui sono nella versione per fl ob e cl eseguita a Udine, festival "Risuonanze",  da Tiziano Cantoni, flauto Enrico Cossio, oboe  Nicola Bulfone, clarinetto

3 Studi Sulla Ciclicità, per 3 legni ('18) - Cantoni, Cossio, Bulfone

Il sottotitolo della composizione  si riferisce a tre bellissimi brani sul dolore:  “Lasciatemi morire” dal Lamento di Arianna di Claudio Monteverdi , “Erbarme dich” dalla Passione secondo Matteo di J. S. Bach - e “Nymphes de bois” di J. Des Pres .
I  frammenti desunti da queste opere vocali, sono l’unico ‘materiale’ con cui è costruita la composizione.  Appaiono, più o meno riconoscibili,  in ordine successivo nelle varie parti della composizione, a partire da Monteverdi fino a Josquin,  per sovrapporsi via via, confondendosi, grazie ai tanti elementi musicali in comune.
Orchestra Sinfonica Abruzzese, direttore Marco Moresco

"Fade-in/ Fade-out" tre frammenti sul dolore, per orchestra (2019)

Nomen Latinum was composed in 2017 originally for string orchestra as an homage to Arvo Pärt. Piano solo version performed by Mioko Yokayama.

Image credit: Volodymyr Tverdokhlib, license from 123rf.com

Mioko Yokoyama plays Alexey Pegushev

Alexey Pegushev - Nomen Latinum

Violin Solo 2 - CD2

Violin Solo 2

Adrián Demoč: Apogeum for solo violin

Pranav Ranjit (they/them) is a composer of new music currently based in Reykjavik, Iceland, with prior studies in the United States, Estonia and Finland. Ranjit’s works explore themes of space and texture, incorporating sounds from the natural world, influences from the Carnatic music of southern India and Lithuanian folk music, and the contrasting extremes of fullness and silence.

Highlandscapes for (contra)bass clarinet and string trio

pranjit

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