A soliloquy is a device used in drama when the character is talking to himself—relating thoughts, feelings, and state of mind—while completely oblivious to his surroundings. A soliloquy is distinct from the monologue or an aside, in that the former addresses other characters on stage while the latter, the audience. The most famous example of a soliloquy is Hamlet's "To be or not to be" speech.

In this work, the character's sporadic state of mind consists of three thematic ideas: long melodic lines; short, based on extended techniques, fragments; and static, long chords.  Contrary to traditional development, these ideas are not developed per se; rather, they are juxtaposed (often times in a very crude fashion) against each other, thus propelling the music forward. As a result, the music often times starts and stops unexpectedly, as though the character doubts himself, never quite reaching fulfillment.

Megan Karls, Solo Violin.  
Recorded live at the Sykes Chapel and Center for Faith and Values, The University of Tampa, February 5, 2014.

Soliloquy (2013)

This piece contemplates human spiritual nature.  Using slow, shifting sound masses, the piece gradually crossfades, via interpolating sub-sonorities, two sonorities (tonic and dominant), resulting in a highly delayed V-I progression.  The progression is controlled and developed via various timbre-controlled structures.  

The University of Iowa Chamber Players. Kira Horel, conductor. Recorded live at Riverside Recital Hall, The University of Iowa.

Musings... on the Spiritual (Chamber Orchestra)

Meditation for Piano/Synthesizer was originally composed as a part of a larger composition for dancers and 6-channel surround sound.  Later I have noticed that formally it can stand on its own quite well and reworked  it for piano/synthesizer.  

Meditation (2010)

Hollywood Overture for Symphony Orchestra was written as a tribute to Hollywood’s great symphonic music.  Since the golden age of cinema in the 1920s, symphonic, cinematic music has evolved into highly sophisticated art form, creating sound-archetypes to accompany any conceivable visual sequences. Though strictly composed as a concert piece, the music of this overture points toward specific visual images that were going through my mind as I wrote it.  

[2222, 4231, timp+2, hrp, pno, strings]

To be premiered April, 2014.

Hollywood Overture (2014)

Performed by Dr. Benjamin Coy.  
For more information visit http://www.tenorposaune.com. 

Serenata Notturna For Solo Trombone (2015)

The Khorovod (Хоровод, Round Dance) is one of the oldest genres in Russian folklore that combines singing and circle dancing (Khorovod literally means "leading the choir"). The Khorovod involves a group of people moving around the stage while holding hands, or closely following each other, and singing (today, the singing is often omitted).

The music of the Khorovod is traditionally slow, lyrical and very melodious (fast music is not common but is occasionally encountered).  As a general rule, the Khorovod features one central melody that repeats itself with small variations (process similar to a transformation of a passacaglia theme).  The Khorovod traditionally uses Russian folk instruments (Balalaika, Gusli, Dombra, etc.), either exclusively or in combination with classical instruments.

The Khorovod is traditionally danced by women and usually depicts a visual, distinct geometric shape that can be easily identified by the audience.  Among the most common choreographic shapes are a “circle,” a “chain,” or a “hair braid.”  As with music, the shape gradually transforms itself in the course of the piece. 

This piece is intended and suitable to be played by intermediate/upper level string orchestras.  The piece introduces the students to the sound of Russian folk music.

Khorovod for String Orchestra (2016)

Dr. Stas Omelchenko  is an American composer, pianist, music consultant, and an educator currently based in Ontario, Canada. From 2014-2019, he served as professor of music theory, history and composition at Florida Southern College, where he also directed the electronic recording studio.  Previously, Stas taught music theory and composition at The University of Tampa and piano at Patel Conservatory at David Straz Center in Tampa, Florida.  Stas holds a BM degree in music composition from Roosevelt University, and MA and PhD degrees in music composition from The University of Iowa. 
​
As a composer, Stas is commissioned by and has worked with many notable ensembles, performers and institutions nationally and internationally, among which are Universities of Eastern Kentucky, South Texas, St. Ambrose, Loma Linda Academy, Iowa and Tampa; orchestra members of Great Falls, Springfield, Waterloo-Cedar Falls, and Valley symphonies and chamber groups such as The University of Iowa Center for New Music and the Tampa Brass Quintet. 
 
As an educator and consultant, Stas has mentored many students and helped launch their professional careers in music performance and education.  Many of his students have been accepted to acclaimed music programs such as Universities of Harvard, Yale, Miami, Redlands, Rice, Michigan, and York University (England).  In addition, his students have landed roles performing with professional ensembles for companies including Disney World, Universal Studios, and Bush Gardens, while others have gone on to pursue teaching careers as K-12 educators in Florida and nationwide. 
 
As a scholar, Stas regularly appears as a guest composer and speaker on university campuses.  He served as an adjudicator with the Florida Orchestra Association and is a member of College Music Society, ASCAP, Society of Composers, American Composers Forum and is an honorary member of Pi Kappa Lambada.

Serenata Notturna For Solo Trombone (2015)

Stas Omelchenko | Composer

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