Terrific piece. The piano tremolo section (4:00 - 5:45) is absolutely gorgeous! And I love the harmonies and colors at the end (starting at 11:35). Congratulations, Sid!

Performed by the Bozeman Symphony, conducted by Norman Huynh

Learn more at http://scottleemusic.net

The Fire Beneath

A collection of my recordings of many of my favorite easy listening rock tunes from the 60's and 70's.

Dream A Little Dream of Me - Elizabeth on Vocals

Zlatomir Fung, cello
Janice Carissa, piano

Recorded at Skillman Studios in Brooklyn, mixed by Ted Moore in Chicago

Program note: Prelude is a duo for cello and piano that was written to precede attacca into the Brahms e minor cello sonata without pause (though it may also be performed alone) and is affectionately written for and dedicated to Zlatomir Fung and Tengku Irfan.

Prelude

Live performance at Oberlin 2.26.19
Oberlin New Music Ensemble
Conducted by Tim Weiss at the Oberlin Conservatory Warner Hall

Lyric Rivera, fulte/alto flute/piccolo
T. Colton Potter, oboe/English horn
Caleb Rose, clarinet I
Alex Abreu, clarinet II
Brian Geise, bassoon/contrabassoon
Nicholas Ginsburg, horn
Sam Friedman, trumpet
Evelyn Proffit, trombone
Carson Fratus, percussion I
Eli Geruschat, percussion  II
Amanda Lubin, piano
Esther Roestan, violin I
Simone Hammet-Lynch, violin II
Corley Friesen-Johnson, viola
Luka Stefanovic, cello
Matthew Frerck, contrabass

About the work:

In Spanish there are two verbs for the English verb “to be”, one is ser (to be) and the other one is estar (to be). The difference between the two is the quality of permanence: estar is a transitory state, an accidental element of being, while ser is permanent, ex. I am (ser) a human being, I am (estar) tired. The Spanish word esencia (essence) is descriptive of the ser verb form, the true nature of anything, not accidental or illusory (Merrian-Webster).

I find myself thinking about this a lot in times of change. Living in another country demands an immense effort for adaptation, in which one of the dangers -and almost unavoidable stage- is the feeling of losing oneself. Being at a distance with all the elements that made me myself: my culture, my family, my mother language, made me value all the small-things, those moments, places, persons that have now became lucid memories that I jealously treasure. And, aren’t we all just memories? Those instants that we chose to keep at the surface, and even the ones that remain deep inside, hidden, they shape our being, our feelings, our responses, they become our essence.

Esencia - Oberlin New Music Ensemble, conducted by Tim Weiss

Those who may be interested in seeing video documentation of this piece can do so here:
https://youtu.be/IEkX5UdHtNA?t=1 
Seven performers:
1 - any hammered dulcimer (cimbalom in this recording)
2 - tabletop 6-string acoustic guitar
3 - electric lap guitar
4 - tabletop 6-string electric guitar with whammy bar and nut extender
5 - tabletop 6-string baritone electric guitar with whammy bar and nut extender
6 - tabletop 7-string electric guitar and amplified piano played inside
7 - live processing and mixing

Sound Icon + Gleb Kanasevich
Play it loud, at the very edge of comfortable.

Found Objects (2018-19)

performed by the Tanglewood Music Center Fellows
at Seiji Ozawa Hall in Lenox, MA
14 July 2019

Nathan Aspinall - Conductor

Johanna Gruskin - Flute
Matthew Griffith - Bass Clarinet
Julianne Mulvey - Basson/Contrabassoon
Esteban Garcia - Horn
Ole Heiland - Tuba
Jonathon Wisner, David Riccobono - Percussion
Shelley Ng - Piano
Evan Bish - Double Bass

asestarse (2018, rev. 2019) | for 9 players

ONE FOOT IN THE DARK for Viola, Cello, Piano Trio

Live Performance on August 4, 2019
Seiji Ozawa Hall, Tanglewood Music Center

Performed by:
Sam Pederson, Viola
Sonia Mantell, Cello
Christine Wu, Piano

© 2019 Harriet Steinke

2019-08-04 1000AM SUN CD1

One Foot in the Dark (for viola, cello and piano) / Live at Tanglewood Music Center

Performed by Sinfonia Salt Lake:
Alison Olsen - flute
Henry Caceres - clarinet
Autumn England - cello
Stephen Hughes - percussion
Andrew Staupe - piano
Robert Baldwin conducting

Gramarye for chamber ensemble explores the interstices between music and language. Grammar is regarded today as an ubiquitous study instilled in us from a young age in school. In the Middle Ages, however, knowledge of grammar was scarce enough to be considered a form of sorcery by the layman. Along with logic and rhetoric, grammar formed the core of the seven liberal arts known as the trivium. The term “gramarye” now has connotations of occult learning, magic, and necromancy. This new work springs from this mystical view of grammar and learning in general. Gramarye presents many variations of its opening harmonic material in textures that are each controlled by unique, sound grammars. Excerpts from preexistent texts are woven into the formal, rhythmic, and harmonic structures of the piece. These include references to gramarye in the Towneley plays and Sir Walter Scott’s The Lay of the Last Minstrel. I do not intend these processes to be recognized and carefully followed by the listener, but rather I aim for them to lend the music an underpinning structure and personal meaning, which allows a metaphorical resonance with the source materials to blossom. Gramarye was commissioned by the Utah Arts Festival for Sinfonia Salt Lake and was premiered on July 22, 2019, in Salt Lake City. This work was made possible in part with the support of Crosstown Arts in Memphis.

Gramarye

Performed by Elise Kuder, Anna Takeda, Mike Kelley, and Rupert Anthony Thompson

String Quartet

for clarinet trio
B-flat Clarinet: Amy Advocat
Violin: Lilit Hartunian
Piano: John McDonald

Gramarye

Sid Richardson

Recent comments

Sidney Marquez Boquiren

Related tracks