S’on me regarde (2004) a labyrinth for flute and harp.

Performed by Elizabeth Janzen, flute, and Matthew Agen, harp.

S’on me regarde is based on the 13th century French motet S'on me regarde/Prennés I garde/Hé mi enfant (the original motet is heard
in its entirety at the beginning of the work).  The texts of the duplum and triplum (the upper two voices) of the motet—which, oddly 
enough, are close to being the same but are not quite identical—concern the complaints of a young woman who wants very much to be noticed, and who indeed finds herself the object of attention from two men. The first one she herself desires, and hopes to find a 
secret place to be with him; the second one she despises and curses with hell-fire, because he is jealous of her and (it would seem) is 
trying to stop her from going to the one she wants to be with. The work ends just as she has made the firm decision to meet her lover
in defiance of the jealous other.  Under this whole scene is the ambiguous, repeated line in the tenor: “Oh! My children!”

The genesis of my work evolved from a contemplation on the meanings of the texts in the original motet.  The strange effect of the 
upper voices, so alike yet not quite the same, seemed to me to be like the thought-echoes of someone who is rehearsing an idea over 
and over again in her mind, or speaking an idea aloud while intently listening to herself think it. (I am not assuming this was 
necessarily the intent of the authors.) On the other hand the text of the lower part seemed to be an omniscient voice speaking from the 
Beyond, a voice amused but also warning, with the possibility of a deeper lament.  I began to wonder Who it was who was speaking in 
this voice, to wonder what happened to the girl and her two lovers, both the invited and uninvited.  I imagined her entering a dark 
wood in search of the one she loves, I imagined her thoughts, her fantasies as she seeks him out: They dance a saltarello together, they 
hear their desire for each other transfigured through an unseen troubadour’s ballad. Now she wanders further into the labyrinth of the forest, desperate to reach its tangled heart where she knows her lover waits.  But who is that behind her?  Who has followed her into 
the woods? Are things really as she believes?  Has she misunderstood the intentions of the Jealous One? Is the one she seeks truly the proper object of her desire, or is it the other way around?  Is the Pursuer the One who truly loves her and wishes to save her from what waits for her in the forest? Oh! My children! 

To paint my medieval picture I employed musical gestures drawn from masters as far distant in time from each other as Perotin and 
Mauchaut.  My goal was to retain as much as possible the musical qualities of those ages within the framework of a modern score with 
its extended range and transpositional possibilities, to observe from a distance of seven centuries, as it were, the lost world of courtly 
love, trouvères, and The Romance of the Rose.

S'on Me Regarde (2004)

Weep, Wilderness, Weep (2007) for soprano, flute, and harp.

I. Prologue; II. Dumuzi’s Dream; III. The Fall of Dumuzi; IV. Dumuzi Mourned; V. The Son’s Reply; VI. Epilogue. 

Performed by Megan Schubert, soprano; Nicole Camacho, flute; Gloria Vasconcellos, harp.

Weep, Wilderness, Weep
 
            The story of Dumuzi is one of the oldest known to history.  His myth was common to all cultures of the ancient world—albeit with many striking variations—under the names Dumuzid (Sumerian), Dumuzi (Akkadian), Tammuz (Babylon), Osiris (Egypt), Attis (Phrygia), and Adonis (Greece).  There are also strong similarities to the Greek myth of Persephone and Demeter.  The association of his death and resurrection with annual natural cycles, with related female figures of Mother, Sister, or Wife/Lover is also common, as is the worship and preservation of his cult by women.  The Mesopotamian version of the story concerns a trip to the underworld by the love goddess Inanna (Ishtar) to challenge her sister Ereshkigal, goddess of the underworld.  Inanna becomes ensnared there in death; her only means of escape is to sacrifice her husband Dumuzi, a shepherd god and king whose instrument is the flute. 
 
            At this point my setting of the tale begins: In the first part, Dumuzi dreams of his own death, a dream interpreted by his faithful sister, the seeress Geshtinanna (I. Prologue, II. Dumuzi’s Dream).  In the second part, demons of the underworld take him as he rises to his throne, after which Inanna is restored to the upper world (III. The Fall of Dumuzi). Dumuzi’s mother, his sister, and his wife mourn him in the wilderness (IV. Dumuzi Mourned, V. The Son’s Reply).  Eventually, Geshtinanna descends into the underworld to give herself as a substitute for Dumuzi for half the year (VI. Prologue).

Weep, Wilderness, Weep (2007)

[Cat] De vegades passa, que al moment de començar a escriure una obra tens molt clar el que escriuràs, saps per on aniran les coses. D'altres vegades no en tens ni idea fins que comences a jugar amb la primera cèl·lula motívica que apareix i genera la necessitat de continuar. El camí que va prendre aquesta música em va transportar a un món oníric on tot pot semblar versemblant, mentre estàs fent el viatge de sentir-la. És una de les màgies de la música instrumental, cadascú la visualitza amb relació al seu propi imaginari i això és divers i fascinant. Què us suggereix aquesta?

Aquesta obra va prendre forma amb la idea de ser compartida al món a través de l'expertesa i l'expressivitat incomparables de l'arpista Olga Benito i la flautista Senja Mäki. Amb la visió de veure aquesta creació prenent vida a través de les seves habilitats, vaig imaginar el seu debut en el context del prestigiós World Harp Congress.

[Esp] A veces sucede que, al momento de comenzar a escribir una obra, tienes muy claro lo que escribirás, sabes por dónde irán las cosas. Otras veces no tienes ni idea hasta que comienzas a jugar con la primera célula motívica que aparece y genera la necesidad de continuar. El camino que tomó esta música me transportó a un mundo onírico donde todo puede parecer verosímil mientras haces el viaje de sentirla. Es una de las magias de la música instrumental, cada uno la visualiza en relación con su propio imaginario y eso es diverso y fascinante. ¿Qué os sugiere esto?

Esta obra tomó forma con la idea de ser compartida con el mundo a través de la pericia y la expresividad incomparables de la arpista Olga Benito y la flautista Senja Mäki. Con la visión de ver esta creación tomando vida a través de sus habilidades, imaginé su debut en el contexto del prestigioso World Harp Congress.


[Eng] Sometimes it happens that, at the moment of starting to write a piece, you already have a clear idea of what you will write, you know where things are going. Other times, you have no idea until you start playing with the first motivic cell that appears and generates the need to continue. The path this music took transported me to a dreamlike world where everything can seem plausible as you embark on the journey of listening to it. It's one of the magics of instrumental music, where everyone envisions it in relation to their own imagination, and that is diverse and fascinating. What does this suggest to you?

This piece took shape with the idea of being shared with the world through the unparalleled skill and expressiveness of harpist Olga Benito and flutist Senja Mäki. Envisioning this creation coming to life through their abilities, its debut was conceived for the prestigious World Harp Congress.

Somni, per a arpa i flauta By Aleix Vives Llimona

Greensleeves (Shakuhachi and Harp version)

Jennifer Grady - Scenes of Oregon: V. Oregon Rain

Jennifer Grady - Scenes of Oregon: IV. Echoes on the High Desert

Jennifer Grady - Scenes of Oregon: III. Beneath the Coastal Waters

Jennifer Grady - Scenes of Oregon: II. Up the Mountainside

Jennifer Grady - Scenes of Oregon: I. On the Lake

Composition Faculty, Manhattan School of Music

Rodrigo Rodriguez - shakuhachi master - Musical Producer - 

Rodrigo Rodriguez (born 29 August 1978) is a Spanish shakuhachi player, musical producer, and composer. Born in the Argentina, Rodrigo lived and grew up in Spain from the decade of the 80s.
He has lived and studied shakuhachi in Japan under the discipline of the Master Kaoru Kakizakai in The International ShakuhachiKenshunkanSchool andwithKohachiroMiyata oneof Japan's leadingplayers ofthe shakuhachi.
In 2008 he put out the album "Various Artists Music That Illuminates Your Life" by the record company Gemini Sun Records which was distributed by ADA / Warner Music Group sharing multi -artist compilation with artists as David Arkenstone and Terry Oldfield.
On August 28, 2008 his third album "Beyond the Times" was chosen by John Diliberto and Echoes as one of the Top 25 Albums.
Rodrigohasperformedworldwide,atstageslikeImperialHotelTokyo,NHKCultureevents, andintheTemple Kōtoku-in of the "Great Buddha" of Kamakura city which is one of the most famous icons of Japan.
In 2012 he was invited to perform in Moscow, in the Tchaikovsky Conservatory for the International Festival "Nihon No Kokoro" which is directed by scientific and creative“World Music Cultures Center" of the Moscow Tchaikovsky State Conservatory.
Onmarch1,2013,Rodriguezreleasedhissixthalbum"TheRoadofHasekuraTsunenaga"dedicatedtothe first Japanese diplomatic mission to Spain,which departed from Ishinomaki in October 1613 and arrived in Seville1614. Thealbumwassupported byJapanFoundation,EmbassyofJapaninSpain,CoriadelRio,CasaGaliciaJapon,SGAE and the committee of the Spain-Japan Dual Year
In 2014 Rodrigo Rodriguez was invited to perform at the first International World Congress of Jikiden Reiki, held in Barcelona, in the presence and the conference of Japanese author and researcher Dr. Masaru Emoto.

[CAT]
Sóc músic de Vilassar de Dalt, al Maresme (Catalunya), nascut a Barcelona l'any 1980. Vaig estudiar guitarra clàssica al Conservatori Municipal de Música de Barcelona i vaig ampliar els meus coneixements musicals al Taller de Músics de Barcelona. També he rebut classes d'Stefano Grondona, Alvaro Pierri i Xavier Coll, entre d'altres.

Vaig estudiar composició amb Lluís Vergés i vaig cursar el grau superior de composició a l'ESMUC amb mestres com Eduard Resina, Albert Guinovart, Arnau Bataller i Bernat Vivancos, obtenint una matrícula d’honor en el meu treball final de grau.

He compost música per a curtmetratges, bandes sonores, teatre, televisió, ràdio, videojocs, arranjaments per a diferents formacions i peces originals per a instruments solistes, conjunts orquestrals i cors.

[ESP]
Soy músico de Vilassar de Dalt, en el Maresme (Catalunya), nacido en Barcelona en 1980. Estudié guitarra clásica en el Conservatori Municipal de Música de Barcelona y amplié mis conocimientos musicales en el Taller de Músics de Barcelona. También he recibido clases de Stefano Grondona, Alvaro Pierri y Xavier Coll, entre otros.

Estudié composición con Lluís Vergés y completé el grado superior de composición en la ESMUC con profesores como Eduard Resina, Albert Guinovart, Arnau Bataller y Bernat Vivancos, obteniendo matrícula de honor en mi trabajo final de grado.

He compuesto música para cortometrajes, bandas sonoras, teatro, televisión, radio, videojuegos, arreglos para diversas formaciones y piezas originales para instrumentos solistas, conjuntos orquestales y coros.

[ENG]
I am a musician from Vilassar de Dalt, in the Maresme (Catalonia), born in Barcelona in 1980. I studied classical guitar at the Conservatori Municipal de Música de Barcelona and furthered my musical knowledge at the Taller de Músics de Barcelona. I have also taken classes with Stefano Grondona, Alvaro Pierri, and Xavier Coll, among others.

I studied composition with Lluís Vergés and completed a degree in composition at ESMUC with teachers such as Eduard Resina, Albert Guinovart, Arnau Bataller, and Bernat Vivancos, receiving honors for my final project.

I have composed music for short films, soundtracks, theater, television, radio, video games, arrangements for various ensembles, and original pieces for solo instruments, orchestral ensembles, and choirs.

Aquests ajustos són mínims i ajuden a mantenir la coherència en l'ús dels noms i expressions, així com una mica més de precisió en la descripció.

New tracks tagged #Flute and harp