@uhammadenlarrush: Never thought of that, but, it kind of does! Thanks Muhammad!

GreaseMonkey

Bagatelles for Woodwind Quintet is a work that I started to write while working on my Bachelors degree at the University of Utah and then completed (and revised) after my graduation while studying with Stan Funicelli. As such, it contains a mixture of approaches to composition from bagatelle to bagatelle. During my time at the University I was exploring both an expanded tonal language and some atonality (based on sets and intervalic content, not strict serialism) and after my studies at the University I was exploring materials that combined those elements along with some more rhythmically expansive elements. Each bagatelle represents some musical exploration that reflect these foci.

Bagatelles For Woodwind Quintet, Troy Lennerd

Someday My Prince Will Come

GFR002 No Light - Mourning Scenes EP

Tracklist:

01. No Light - Mourning Scenes
02. No Light - One Show
03. No Light - Racist
04. No Light - Queen Toes 
05. No Light - Mourning Scenes (Seafloor Remix)
06. No Light - One Show (Lao Remix) 
07. No Light - Queen Toes (Me & Myself Remix)
08. No light - Racist (MXMLST Remix)

Follow No Light on SC: @No-light
Fanpage: https://www.facebook.com/NoLightMusic
Twitter: @NoLightMusic

Follow Seafloor on SC: @Seafloormusic
Fanpage: https://www.facebook.com/seafloormusic
Twitter: @SeafloorSounds

Follow Lao on SC: @lao
Fanpage: https://www.facebook.com/laobass
Twitter: @LauroRobles

Follow My & Myself on SC: @meandmyselfmusic
Fanpage: https://www.facebook.com/meandmyselfmsc
Twitter: @MeAndMyself666

Follow MXMLST on SC: @Mxmlst
Fanpage: https://www.facebook.com/MXMLST
Twitter: @MXMLST_Sound

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No Light - Mourning Scenes feat. Angie Victoria (Seafloor Remix)

Milana Zarić, harp and voice
Gorana Ćurgus, harp and voice
Richard Barrett, sound mixing and recording production

recorded live at Belgrade Philharmonic Hall, 22nd April 2015

K. Stockhausen 'Freude' for two harps and voices

Atlas Eclipticalis is the title of the collection of astronomical charts employed by John Cage in the composition of his work of the same name. Using transparent overlays he determined by means of chance operations which stars on the charts were to be notes and how these notes were to relate to one another. The work, commissioned in 1961 by the Montreal Festivals Society, was completed in 1962 and comprises 86 instrumental parts (for full orchestra) “to be played in whole or part, any duration, in any ensemble, chamber or orchestral." The present recording superimposes digital tapings of three parts for flute “(treble clef) changing with piccolo and alto flute ad lib. “ without a conductor. A performance may be at any point between minimum activity (silence) and maximum activity (what’s written). Based from my correspondences with Cage in 1987, my recording, completed in January, 2002, represents the culmination of a project spanning a 15 year period. Specifically, the analysis of the existing orchestral parts for flute, the generation and notation of precise microtonal versions of each, and the resulting recording and digital editing of each part with piccolo/alto flute doublings (9 parts total). This final recording is dedicated to the great shakuhachi master, Masayuki Koga. Since 1983, the sagacious virtuosity of Masayuki Koga has had the most profound influence on my personal artistry. His friendship and guidance have been invaluable, and without whom, this album would not have been possible. Only the natural sound of the instruments is heard.

 

Atlas Eclipticalis for 3 Flutes IV

"Am Grabe Memphis Minnies" was initially intended as a centenary tribute to the Louisiana-born blues singer Lizzie Douglas (known as Memphis Minnie), and was inspired by a documentary programme about her on BBC Radio 3.  Particularly moving, for me, were the beginning and end of the programme, recorded at the dedication of her gravestone, nearly 25 years after her death in 1973.  

The piece is a two-part invention, in which two versions of a single rhythmic grid are each subjected throughout to different variative processes. The resulting music is divided into five sections, which between them inhabit two different sound-worlds. Sections 1, 3 and 5, which form the bulk of the piece, use performance techniques, which give the instrument a more percussive, less pitch-specific quality, suggestive of the sound produced by many blues guitarists in the 1930's and 40's (the period when Memphis Minnie's career was at its height).  Sections 2 and 4 form points of rest in the midst of this activity, permitting the listener to take stock of the way the work is unfolding.  These sections are dominated by the sound of harmonics.  The fourth section gives prominence to a single harmonic (on A"), its bell-like sonority underlining the work's funerary associations. While working on the piece, it occurred to me that 1997 was also the 300th anniversary of the birth of Franz Schubert, and decided that in these two, rather more gentle sections I would pay homage to him.  This, in its turn, suggested my title, which, I like to think, neatly combines references to the two figures whose work lies at the heart of this music.

Am Grabe Memphis Minnies was commissioned by the guitarist Paul Søgaard, with funds kindly made available by a group of anonymous donors.  It is dedicated to him and his wife, Dani (“for 02/08/1997”). Paul Søgaard gave the first performance on 15th March 1998 at the Magleås Kursus Center, Birkerød, Denmark.

This performance was given by Diego Castro Magaš at The Phipps Hall, University of Huddersfield on 26th November 2015, as part of hcmf 2015.

The score is available from Composers Edition: https://composersedition.com/james-erber-am-grabe-memphis-minnies

Am Grabe Memphis Minnies

Diego Castro Magaš, guitar
Recorded at Huddersfield Contemporary Music Festival, 26 November 2015 

Knokler I (2009, Solo guitar)

Jason Eckardt: Echoes' White Veil (1996)
performed live at Harris Hall, Aspen, CO
February 9, 2017

Jason Eckardt: Echoes' White Veil (1996)

CityBlue

“Well done, Troy. A Piece for Solo Cello is very powerful (and well conceived for the instrument). “ - James Erber (Composer, UK)

"I have a persistent fascination with A Short Piece for Orchestra. It’s so dense and rewarding! Obviously not a moment wasted. The stacked harmonies during the held chords in the strings almost remind me of the IRCAM/spectral sound world. It’s so very rich, really quite textbook. Beautiful Job.” - Gleb Kanasevich (Composer / Clarinetist, USA and Belarus)

"The music in A Piece for Solo Cello is intense and melancholic. You maintain a taut lyrical tension throughout.” - Marc Yeats (Composer, UK)

Troy Lennerd Nielsen is an independent music composer, classical and jazz guitarist, instructor and music engraver. Troy's music has been performed in every continent, worldwide, and has been toured, by many musicians on numerous occasions. Awards include: The Margret Jory Fairbanks award from the American Music Center, 6 time recipient of the ASCAP Plus Award, and the Composers Guild Contest -first place in two categories. Commissions Include several works for Modern Dance, Solo Instruments, chamber music and film.

Troy earned a Bachelors degree in Music Composition and Jazz Guitar Performance from the University of Utah, Salt Lake City, Utah. After earning his degree, he continued private study with Stan Funicelli in Composition and Classical Guitar. His composition teachers have also included : Tully Cathy, Henry Wolking, Tracy Peterson, Morris Rosenzweig, and Steve Roens and he has attended master classes with Samuel Adler, Martin Boykan, Roy Harbison and Harvey Sollberger. He has been composing for over 30 years.

Troy is a member of ASCAP, The Society of Composers (SCI), The American Music Center and DCM Contemporary Music Forum. His music is published by LenMuse Music and Great River Books.

“There is vitality, a life force, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and be lost. The world will not have it. It is not your business to determine how good it is: nor, how valuable it is: nor, how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep open and aware directly to the urges that motivate you. Keep the channel open, no artist is pleased. There is no satisfaction whatever at any time. There is only a queer, divine dissatisfaction: a blessed unrest that keeps us marching and Makes us more alive than the others.” - Martha Graham to Agnes DeMille.

Bagatelles For Woodwind Quintet, Troy Lennerd

Troy Lennerd

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