Karlheinz Stockhausen (1928-2007) was a pioneering German composer widely regarded as one of the most important figures in 20th-century avant-garde music. He is known for his innovative compositions that often pushed the boundaries of traditional musical forms and techniques. Stockhausen's works spanned various genres, including electronic music, aleatory (chance) composition, and serialism. His groundbreaking pieces, such as "Kontakte" and "Gruppen," explored new sonic possibilities and profoundly influenced generations of composers. Additionally, Stockhausen's theoretical writings on music and his visionary approach to composition continue to inspire musicians and scholars alike.

Karlheinz Stockhausen - The Intrepid Ear

Fifths and Canons: two long standing elements in music. In over and out I try to put a different aural perspective onto both of these structures. Using canons, I overlay different collections of fifths to create the melodies and harmonies that pervade this short work. Before you know it, the piece is over and out.

For Flute, Oboe, Clarinet, Trumpet, Trombon, Tuba, Perc, Piano, Violn, and Elec. Bass
Commissioned by Common Sense Composers' Collective;
Premiered June 1994 - Hartford, CT

OVER AND OUT

Explore the evocative and intricately woven soundscapes of Belinda Reynolds' chamber music. Drawing from a rich tapestry of influences, her compositions blend contemporary techniques with deep emotional resonance, creating pieces that are both intellectually stimulating and profoundly moving. Each track showcases her unique voice as a composer, offering listeners an immersive journey through modern chamber music.

CS Banff Live Show 2010

OPEN

ENVISION was commissioned by the Galax Baroque String quartet as part of their finale concert for the 2007-08 “Music that Cooks” concert season, which raises funds for the First Congressional Presbyterian Church’s food program for the homeless community in Oakland, CA. The title comes from how I ‘envisioned’ using a musical structure borrowed from Baroque Music, that of the Chaconne. The Chaconne is usually a bass line or harmonic progression that repeats again and again throughout a piece. Since I had been analyzing some of Bach’s Chaconne with my students, I took the opportunity to do my contemporary ‘envision’ of what one can do with a chaconne. From the start, one will hear in ENVISION the strings playing the chord progression I use. However, as the piece progresses, it takes a few ‘side-turns’ as the music explores only segments of the chord progression, or only one of the chords. This is all done through the prism of the opening melodic structure, which, like the harmony, recurs again and again, but in altered forms not traditionally associated with Baroque music.

ENVISION also refers to the license I give the players in choosing much of the articulations of the piece. As Early Music players are so expert in interpretation and realization of scores that often have minimal or no dynamics or articulations I let Galax ‘envision’ how they felt the piece could be played through their musical decisions in the shaping of the phrasing and texture. For me, this is one of the most satisfying aspects of writing for such instruments and such players. I wish to especially thank Roy Whelden, composer and gambist and founder of the Galax, for his ‘envisioning’ of my ability to write for his ensemble. Special thanks also goes to Galax musicians David Wilson, Joseph Edelberg, and David Morris. Without their input and high level of musicality this piece would not have the refinement and grace I feel it now has. For all their work, I am eternally grateful.

For Baroque string quartet
Commissioned by the Galax Quartet;
Premiered March 2007 -- Oakland, CA

Live Performance 2007

ENVISION

DUST was commissioned by the Vermont Contemporary Music Ensemble as part of their Winter "Coffee House" Concert to benefit the victims of the events of September 11, 2001. The work derives its title from my experience of flying into New York City two weeks after the Twin Towers fell. It was night, and the spotlights representing the two towers were lit. The lights reflected the still remaining dust in the air from the buildings’ destruction. I will never forget that image.

While no words can ever sufficiently encompass all the emotions and thoughts we all have surrounding this day, this short duo tries simply to create a musical offering for all of those lives affected by this moment. A special thanks goes to Steven Klimowski and Bonnie Thurber Klimowski for their input in the composition of this work. Other thanks go to The MacDowell Colony for their support of this project.

For clarinet in Bb and cello
Commissioned by Vermont Contemporary Music Ensemble;
Premiered Springfield, VT - February 2002

DUST

CIRCA

BEGIN is a work for classical guitar ensemble. It is dedicated to the memory of Jorge Liderman, a renowned composer and beloved colleague who also played the classical guitar. The work gets its name from the way the sections of the piece interact with one another. Although the harmonic material remains almost the same, the development of it changes in such a way that each succeeding portion sounds like a new ‘beginning’. This is an homage to Jorge’s music, which always surprised one with the endings never sounding like predictable endings. Jorge also enjoyed music with a relentlessness and harmonic intensity, joking that my music was sometimes too ‘beautiful’. As an acknowledgement to his sentiments I try to give the material some ruggedness and get rid of the polished shine, so to speak. It is all exposed for the listener to explore and figure out. Thanks goes to the San Francisco Conservatory of Music for the funding of this work. Finally, a special thanks goes to David Tanenbaum for inspiring me to write this piece. Without him, this piece would not have come to fruition.

Commissioned by David tanenbaum and San Francisco Conservatory of Music;
Premiered 2008-09 - San Francisco, CA

BEGIN

BARK was commissioned by Sqwonk clarinet duo as part of their 2009-10 touring season. It’s title comes from my using of Bela Bartok’s piano collection, Six Dances in Bulgarian Rhythm, as ‘seed material’ for the musical processes that happen throughout the piece. The structure is a sort of ‘backwards variations’ in that I do various combinations on the original melody: stretching the rhythm, changing the harmony, etcetera, until near the end. I then actually do a complete ‘clean’ statement of the music taken from Bartok’s work. The result is a bouncy, playful, quizzical piece that has a haunting moment here and there. I hope you enjoy it. Special thanks goes to the American Composers Forum for the funding of this project.

BARK

Alphabet Soup, a commissioned piece by The New Millennium Ensemble in collaboration with Common Sense Composers' Collective. Premiered in 2002, for flute, clarinet, violin, cello, and piano.

ALPHABET SOUP - Sopa de letras

"Recyclophonitecture" is an ambitious exploration of spatial sound that aims to push the boundaries of modern composition. At its core, the composition revolves around the concept of recycling melodies, where themes are deconstructed and reassembled throughout the piece, creating a continuous evolution of sound.

The work begins with a classical string quartet, only to transform into a fully realized electronic orchestra. This transition highlights an innovative approach to blending acoustic and digital elements, merging traditional instrumentation with futuristic electronic textures.

Thematically, "Recyclophonitecture" delves into the idea of visualizing space through sound creating a sound architecture. The use of layered soundscapes allows the listener to experience a three-dimensional sense of space, with each note building an auditory architecture that expands and contracts in real time. This fusion of music and spatial design offers a unique listening experience, emphasizing the dynamic relationship between sound, time, and perception.

Ultimately, the piece serves as a compelling statement on how sound can shape our experience of space, offering a fresh perspective on both musical structure and sensory engagement.

Recyclophonitecture (for strings and electronic orchestra) - Lazaros MAVROMATIDIS

Breandáin O’Shea is an Australian musician, pedagogue, and arts journalist who has called Germany home since the early 90s. With a career spanning more than three decades, O'Shea has made a profound impact on the arts scene, both locally and globally. For over 20 years, O’Shea curated and hosted two award-winning weekly arts programs for Deutsche Welle, showcasing appreciation for diverse artistic forms. His expertise has also been shared as a guest lecturer at Berlin’s University of the Arts, the Goethe Institute, and Norway's Stavanger University. O'Shea's impressive list of interviewees reads like a who's who of the arts world, including luminaries such as Daniel Barenboim, Roddy Doyle, Sting, Christo, and Jessye Norman. His insightful conversations have resonated with audiences worldwide, cementing his reputation as a leading voice in the arts community. Based in Berlin, O’Shea continues to foster cultural discourse through various mediums, from producing podcasts to crafting radio documentaries, collaborating with renowned media outlets such as the ABC and DW.

In 2018, O'Shea launched Tall Poppies: The Podcast, featuring insightful interviews with prominent figures in Australian arts and culture. His guests include stage director Barrie Kosky, conductor Simone Young, and philosopher Peter Singer. Additionally, O'Shea co-founded Tall Poppies Talks, a highly regarded Australian salon, in 2019. This quarterly event in Berlin underscores his impact on the cultural landscape. O'Shea's background lies in music performance, with a particular emphasis on flute and voice during his studies. Under the guidance of Professor Margit Kobeck in Cologne, he received vocal training and refined his skills through master classes with Vera Rosza OBE and Professor Kurt Widmer. Additionally, he is a jazz singer and pianist, captivating audiences in diverse venues, including successful tours with Sea Cloud and Aida cruises. His creative talents extend to composition, where he has crafted chansons, cabaret music, incidental music for stage, and signature tunes for various radio programs and podcasts. Moreover, O'Shea shares his knowledge and experience as a mentor for numerous radio features and podcasts, offering invaluable insights in sound design.

O’Shea has featured in various radio plays, notably portraying the lead character in the award-winning German-language series "Harri in die Zeitschleifen," which comprised multiple episodes and was produced by Deutsche Welle. 
O'Shea has been a guest at numerous music festivals all over Europe, presenting public interviews, introductions to concerts, and lectures. Among these are the International Chamber Music Festival in Norway, The Verbier Festival in Switzerland, and the International Beethoven Festival in Bonn, Germany.
In 2022, Breandáin O’Shea founded Die Buhne Rüft - Klassik, Jazz, Chanson (The Stage Calls), a concert series showcasing musicians at various stages of their careers. The concerts are held in the beautiful halls of Schloss Sacrow, located just outside of Berlin. He serves as the founder and artistic director of the series.
Among O’Shea’s accolades are a Gold Medal from the New York Festival Radio Awards for the most outstanding arts program and a World Radio Award, highlighting his talent and unwavering dedication to the arts. 
In addition to his journalistic endeavours, O’Shea is deeply committed to music education, offering private lessons in Berlin. With a focus on improvisation, jazz techniques, and composition, he imparts his knowledge and expertise to aspiring musicians.

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