Reunion Ibis for Solo 'Cello from 'The Extinction Series' for solo instruments

performed by Aleksander Tengesdal, cello
November 2014

Reunion Ibis for solo 'cello from 'The Extinction Series'

The original version is for tenor saxophone and computer, with audio coming out of the audience's cell phones or devices. This is a studio recording, emulating the 2nd version using a traditional sound system. 

Thanks to our awesome school, UNC Greensboro, for supporting this project!

Luminous

Composed by Andrew Tholl
Performed by wild Up and Graduale Nobili

Memory Draws The Map We Follow

Swedish jazz vocalist (and visual artist) Sophie Dunér’s experimental approach to the genre is an adventure. On her most recent album, The City of Dizzy with cellist Jeremy Harman, she carves an endless maze of surprises to discover. No song ever sounds the same twice. [This episode features “Purple Bossa” and “The Express Train” from The City of Dizzy in their entirety.]

Visit Sophie Dunér online:
http://www.sophieduner.com
http://www.sophiedunerart.com

 

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Liz (The Talk Music Talk Theme)-FULL VERSION

Written and Composed on an iPad by boice.

https://soundcloud.com/thisisboice/liz-talk-music-talk-theme

 

SURVEY
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"Talk Music Talk with boice" Sophie Dunér Podcast Interview 159

Inspired by the love of a cellist and pianist. This piece evokes the feeling of a romantic connection, lost to time. 

Performed by Leah Tousignant on Piano and Cory Grossman on Cello.

Lost Romance for cello and piano

Live at Scorca Hall, National Opera Center, NYC

program available at our website: www.ventnouveauny.com

Only To Ask by Rain Worthington

Sonata 46 for violin and classical guitar

Sandra Haniszewska - Violin
Tomasz Kandulski - Classical Guitar

I was attending music school as an undergraduate in 1998 at the University of Texas at Austin. At the time, Matthew Gould (of Duo 46) was attending as a Doctoral student in guitar and living in Austin with his partner, violinist Beth Schneider. They had started Duo 46 maybe a few years before this. I was hanging out with them a lot in those days - just going over to their apartment or whatever. One day, Matt said to me, "Hey man, why don't you write us a piece?", and I said, "Umm.. ok."

At this point, I don't think they expected much. They hadn't had that many pieces written for them yet, and I was just starting as a composer, only in my second year of school. I decided I wanted to write something that would really show off what they could do technically and musically, and that would leave audiences breathless.

Not knowing how to begin, I lifted a line from a piece that I had just written - a solo flute piece titled "The Five Rings of Miyamoto Musashi". That became the opening line of the piece. Then, inspired by the one movement sonatas of Domenico Scarlatti, I wrote the piece based on that line. The piece is full of things that I was just discovering and becoming influenced by at the time: baroque sonatas, renaissance lute music (hence the "lute" tuning of the guitar), the tangos of Piazzolla as well as the ever-present rock and heavy metal that has always been part of my music. Since Duo 46 premiered the piece in 1999, Sonata 46 has become one of my most frequently and widely performed pieces.

Notes

Sonata 46 (Haniszewska-Kandulski Duo)

A midi realization of a simple, lyrically introspective work for strings.

Midi realization

Introspection - for Strings (midi)

Since 2015, Beverly and Mitch have had an ongoing musical relationship through their collaboration in ALEWIFE, as they map out the possibilities of melody and harmony involving voice/guitar/accordion. When they performed as a duo in 2017 with just voice and Spanish guitar, they realized there was something there to explore further. This studio project collection of songs focuses on the simple partnering of those two audio elements – and builds outward from there with percussion / bass / electric guitar / accordion. If you fancy a live performance of these tunes, come to the next Alewife show. You're bound to hear some of these.

Light My Fire

Live premiere performance - Symphony Orchestra, Steven D. Davis, Conductor,  May 5, 2019; Kansas City, MO.

“A city is not beautiful by accident” writes historian William H. Wilson. “City Beautiful” takes its title and inspiration from the architectural movement of the late nineteenth and early twentieth centuries that gave us the boulevard and parks system in Kansas City. The movement had an impact on many other US cities as well, including Chicago, Detroit, and Washington, D.C. to name a few. One of the principal philosophies underlying the movement and one that inspired me to write this composition, was the belief in the “shaping influence of beauty” on society. Advocates believed that beautification of our physical surroundings would promote a sense of community and increase the quality of life in cities around the country. In many ways, I feel music has a similar power to influence and shape a community. This composition was commissioned as a celebration of the 60th Anniversary of the Youth Symphony of Kansas City and I cannot help but ponder the wonderful shaping influence of this organization over sixty years of music making in our community. 

Commissioned by the Symphony Orchestra and conductor Steven D. Davis of the Youth Symphony of Kansas City, in celebration of its 60th Anniversary Season.

City Beautiful for Orchestra

All music by Charley Gerard except for the ending ("Night in Tunisia" by Dizzy Gillespie and Frank Paparelli). Poetry by Laura Kelly Fanucci.
Saxophone, Charley Gerard
Drumset, Tony Lewis
All other sounds are virtual instruments created on Finale software.

When This Is Over

Rain Worthington has a distinct voice within the field of contemporary music. As noted in MusicWeb-International, “… she writes music which speaks to the senses, is packed with real emotion and, most important of all in contemporary music, really communicates.” 
World music, minimalism and romanticism have influenced Worthington’s compositional style. Her music has been performed in a wide variety of venues from loft performance spaces and dance clubs in New York City, to orchestra recordings in Eastern Europe and chamber concerts in Spain, India and Israel.
Using the palette of chamber and orchestra instrumentations, Rain Worthington’s emotionally evocative work is nuanced, delicate, passionate and transporting. Her music takes “…ideas of American musical style to a new place – like a walk in a familiar, yet very different park... And isn't afraid to come up with its own startling conclusions.” (Kyle Gann, Chamber Music magazine)