Composed by Roberto García.

Gigue for strings.

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Jitter

This is my recording of the Bach cello suite in G major from 2017. Transcribed for Viola, recorded in Las Vegas, NV

Gigue

Minuet I and II

Sarabande

Courante

Allemande

Prelude

Trio for Viola, Cello and Piano, Mvt. 4
Premiere Performance 5.05.2022
Munich, Germany

Full Video

Piano Trio, Mvt. IV

Composed for viola, violoncello, and piano, this composition was crafted using a variety of personal methodologies. In addition, the work drew initial inspiration from the composition "Kor ərəbin mahnısı" (“Song of the Blind Arab”), by Azerbaijani composer Fikret Amirov from the musical setting of the play "Sheikh Sanan," while at the same time incorporating its melody. The subtitle of my work is in reference to the Sufistic text "Conference of the Birds," itself the basis of the play "Sheikh Sanan," which is also utilized. Moreover, the music is reminiscent of the traditional sonata form, with diametric A and E-flat as harmonic zones of import.

The music is a combination of two of my compositional methods: my Eddaic mode, which translates both the names of the birds mentioned in the "Conference of the Birds" & the names of Sanan and Khumar (the main lovers of "Sheikh Sanan") into pitch, harmonic, and rhythmic information; and, my Akkadian mode, which uses 88 rhythmic figurations formed through my ornithological analysis of Sumero-Akkadian cuneiform and its syllabary.  This is dependent on the phonemic information of, here, the “birds.” 

Over time—just as in the text "Conference of the Birds"—certain “birds” (i.e., their themes) fade from the music, until only the worthy remain to form the mythical “simurgh.”

There are four sections to this work. First comes Yer (“Earth”). It is dronelike in the style of muğam, and it evokes improvisatory, loamy textures—harmony is firm like stone.

In Boşluk (“Void”), Amirov’s melody begins to crystalize (around fig. 5), and a number of birds are introduced musically—in general, this section has a mournful tint. Lyricism and fluidity are valued here.

Kənar (“Edge”) returns to the stability of the opening muğam-style, as it opens with a piano solo. Warm and cold extremes duel for control of the narrative, and the Sanan and Khumar Theme forms at fig. 14.

Symbolic of both the lovers Sanan and Khumar, and of the unity gifted by the simurgh, Əbədi (“Eternal”) concludes the work. Only those birds mentioned in the text—as well as the lovers—are cited here, and the harmonic struggles between the A—E-flat tritone is resolved. 

The final image is that of the simurgh, which shines in a fiery heat whilst also drawing inspiration from the “Song of the Blind Arab.”

Piano Trio No. 1 (Conference of the Birds)

recording of live premiere performance by Deborah Boldin, Caitlin Lynch, and Ina Zdorovetchi, 2 and 3 April 2022 at First Church, Boston MA; Patrick Keating, audio engineer

Winternacht

RahmaanPhillip.com

Rahmaan is an internationally recognized violist and violinist who performs, records, and composes a wide variety of musical genres. You can see him performing everywhere from the Las Vegas strip with artists such as Lady Gaga to Carnegie Hall and beyond.

Alisa educated at the Saint-Petersburg conservatory, and at the Munich Academy of Music and Performing Arts.

Jeremy is a composer, conductor, and pianist.

I am a composer and pianist from Buffalo, NY, and I am a recent graduate of the Royal Welsh College of Music and Drama (MMus, Composition). Here, you can find some of my most recent works, though you can find more on my website: jdestro.com

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