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HERE WE ARE

The final part of my violin concerto, Edge Of A Dream.

Tim Fain, violin
Jacomo Bairos, conductor
Amarillo Symphony Orchestra

My family and I are fortunate to have been thriving and healthy during the COVID-19 pandemic, which has been a time of suffering and transition for so many people. Like many musicians, I saw all live performances and in-person collaborations either canceled or postponed. In consequence, I suddenly had a lot of extra time for other projects. Some silver linings began to emerge: I could spend more time with my family and watch my girls grow. I also had the time to put together my first larger composition for violin and orchestra.
 
As I began serious work on Edge Of A Dream in the Spring of 2020, qualities of hope, joy, and even elation emerged in my writing. Though putting notes on paper did not occur without struggle and difficulty, my feeling as I was writing was in stark contrast to the ever-present turmoil and uncertainty which I and so many others were experiencing during these past couple of years. I had the sensation that I was at the edge of something: a feeling of profound hope just out of reach, the beginning of something new, or a significant turning point for myself and many others. Looking back, I now realize that I needed to express this intense, and at times forceful yearning during the pandemic to hold on to the dream of a better future.
 
Throughout much of the work, I employ several short motifs, juxtaposed as pixels, through which a larger structure emerges. In Part I, the three rising pitches in the strings at the outset of the movement, the insistent staccato figures in the woodwinds, and the two downward sweeping intervals in the solo violin are combined and remixed. By contrast, Part II explores longer-form melody. After a chaotic climactic moment and short cadenza, the solo violin finds its way back home to the original tonality and peaceful character. Part III is, once again, almost entirely centered around a short motif consisting of the four notes of an arpeggiated 3rd inversion D major 7th chord. As the original descending intervallic motif from Part I returns, now in a somewhat more hopeful major tonality, the movement comes to an exuberant close.

The work is dedicated to my two daughters, Katia and Brielle.

Edge Of A Dream - Part III - Jacomo Bairos conducting Amarillo Symphony

From the "Munch" Original Motion Picture Soundtrack, a film about the Norwegian painter, in four chapters each with a different lead actor playing the part of Edvard Munch.

Composed and Performed by Tim Fain

Munch (Original Motion Picture Soundtrack)

Onward

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Islands: Essential Einaudi is the first time that all of Einaudi's best known music appears in a single collection. It’s available as both a single disc and special double disc version. Islands also includes new tracks The Earth Prelude and High Heels as well as two new remixes of Lady Labyrinth and Eros.

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Divenire

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Artwork by Spencer Murphy, from his Traces series: http://bit.ly/X9so5E.

Precious Little

Una Mattina

Nuvole Bianche

First Loves
Tim Fain, violin
Robert Koenig, piano

First Loves is a collection of quintessential violin masterpieces which first inspired me to be a violinist. Includes showpieces by Rachmaninoff, Sarasate, Wieniawski, and more, plus “Swan Remix,” my own arrangement of themes from Tchaikovsky's Swan Lake.
As a kid, I was surrounded by classical, pop, rock, jazz, film and contemporary concert music – finding a balance of old and new music is still very important to me. Many of the works on First Loves are the ones that drew me in as a child – Rachmaninoff, Sarasate, and Wieniawski, arrangements by Heifetz, and Kreisler – and remain profoundly relevant today. I’ve also included “Swan Remix,” my own arrangement of themes from Tchaikovsky’s Swan Lake, which I made after my work on-camera and on the soundtrack of the film Black Swan. Each track is dedicated to someone who inspired me or made it possible for me to be the person and the artist that I am today. My hope is that First Loves will inspire others, young and old, to fall in love with the violin as I did.

First Loves

Buy on BandCamp

Swan Remix - P. I. Tchaikovsky/Tim Fain

Music from the Motion Picture The Curious Case of Benjamin Button

Meeting Daisy (Album Version)

The Crimson Wing: Mystery Of The Flamingos

Transformation

Oltremare

Nepenthe

Forever

Written and performed by Tim Fain

All proceeds from downloads and streaming in 2016 went to support Made in a Free World, to help put an end to modern slavery.

I wrote and recorded Freedom to support Made in a Free World, an organization dedicated to putting an end to modern slavery. As a father of two young girls, I was deeply moved by its mission to make the world a safer place for all our children. Every day I’m inspired by the boundless creativity I see in my own daughters. As a musician, I’m continually amazed by the power of music to connect and heal.

It pains me to recall that we still live in a world where many young people are not allowed the basic rights of education, play, and the liberty to make their own choices in life. In composing this work, I was inspired to imagine a future in which freedom is within every child’s reach.

The music is an expression of joy, and an attempt to capture a feeling of flow and weightlessness, but also empowerment. There is a kinetic quality in the music as it unfolds, with the faster rhythms in the violin giving way to larger, broader phrases, as if “zooming” out, revealing the ways in which we are all interdependent and connected to one another.

I was also particularly satisfied in having the opportunity to collaborate with my elder daughter, who created the recording’s cover art. In this spirit of intergenerational collaboration, I hoped that in some way the song would help to empower my daughters and other young people to embrace a new way of living that will enable us all to be free in mind, body, and soul.

Freedom

re:member

brot

Tim Fain Performs Samuel Barber's Violin Concerto

Samuel Barber Violin Concerto, Mvmt I

Riceboy Sleeps

Boy 1904

With his adventuresome spirit and vast musical gifts, violinist Tim Fain has emerged as a mesmerizing new presence on the music scene.  The “charismatic young violinist with a matinee idol profile, strong musical instincts, and first rate chops” (Boston Globe) was most recently seen on screen and heard on the soundtrack of the new hit film Black Swan, and heard as the sound of Richard Gere’s violin in Fox Searchlight’s feature film Bee Season. Selected as one of Symphony and Strad magazines’ “Up-and-Coming Musicians,” Fain captured the Avery Fisher Career Grant  and a Young Concert Artists International Award.  As The Washington Post recently raved, “Fain has everything he needs for a first-rate career.”

He electrified audiences at debuts with the Baltimore Symphony with conductor Marin Alsop, at Lincoln Center’s Mostly Mozart Festival and with the Orchestra of St. Luke’s.  He has also appeared with the Mexico City and Oxford (UK) Symphonies, Cincinnati Chamber Symphony, Brooklyn and Hague Philharmonics, and the Curtis Symphony Orchestra in a special performance at Philadelphia’s Kimmel Center.  In addition, he was the featured soloist with the Philip Glass Ensemble at Carnegie Hall in a concert version of Einstein on the Beach and continues to tour the US and Europe in a duo-recital program with Phillip Glass.

Fain appeared in recital at the Ravinia Festival, Amsterdam’s venerable Concertgebouw, Isabella Stewart Gardner Museum, the Kennedy Center Mexico’s Festival de Musica de Camara in San Miguel de Allende, Carnegie’s Weill Hall, California’s Carmel Mozart Society, University of Georgia, Boston’s Ives and Ringling International Festivals, San Diego Art Institute, University of California at Davis, Alice Tully Hall, the 92nd St Y, and elsewhere across the globe. His multi-media evening Portals premiered to sold-out audiences in New York, Los Angeles and at its midwestern premiere at Omaha’s KANEKO. The centerpiece of the evening is Partita for solo violin, a new work written especially for him by Philip Glass, and also features collaborations with Benjamin Millepied, Leonard Cohen, film maker Kate Hackett, and with radio personality Fred Child and pianist Nicholas Brittel appearing on screen.  

A dynamic and compelling performer in traditional works, he is also a fervent champion of 20th and 21st century composers, with a repertoire ranging widely from Beethoven and Tchaikovsky to Aaron Jay Kernis and John Corigliano; as the Los Angeles Times recently noted, his career “is based, in part, on new music and new ways of thinking about classical music.“  His provocative debut CD Arches, music for solo violin, reflects Fain’s inquisitive passion and intellect, combining old and new solo works by J.S. Bach, Fritz Kreisler, Kevin Puts, Mark O’Connor, Daniel Ott, and Randy Woolf. His new disc, River of Light (Naxos), brings the tradition of the virtuosic short piece into the present, with short works by living American composers.

He has collaborated with such luminaries as Pinchas Zukerman, Richard Goode, Jean-Yves Thibaudet, Jonathan Biss, has appeared with the Mark Morris Dance Group, Seán Curran Company, and Bill T. Jones/Arnie Zane Dance Company, and appeared onstage with the New York City Ballet, performing alongside the dancers in the acclaimed premiere of Benjamin Millepied’s “Double Aria." He has also worked with jazz pianists Billy Childs and Ethan Iverson (The Bad Plus), guitarist Rich Robinson (Black Crowes), and appeared at Jazz at Lincoln Center with singer-songwriter Rob Thomas (Matchbox 20). 

A sought-after chamber musician, Fain has performed at the Chamber Music Society of Lincoln Center, New York’s Bargemusic, Chamber Music Northwest, and the Spoleto (Italy), Bridgehampton, Santa Fe, Caramoor, Bard, Lucerne (Switzerland), “Bravo” Vail Valley, Moab, and Martha’s Vineyard Festivals. He has toured nationally with Musicians from Marlboro, and was first violinist of the Rossetti String Quartet. 

A native of Santa Monica, California, Tim Fain is a graduate of The Curtis Institute of Music, in Philadelphia, where he studied with Victor Danchenko, and The Juilliard School, where he worked with Robert Mann.  He performs on a violin made by Franceso Gobetti, Venice 1717, the “Moller,” on extended loan from Clement and Karen Arrison through the generous efforts of the Stradivari Society of Chicago.

Freedom

TimFain