Chapter 1 March 2025

The Beeb 3's Night Tracks - 3

Night Tracks 🔊 (BBC Radio 3) - 2

Derun’s magical touch on Dakhabrakha’s storytelling. A crying cello shift around the world looking out for the eternal beauty, become saturating with crumbs of impressions of other cultures, borrowings and imitation interspersings. Alambari is the place where ‘’The voyagers’’ paths crossed.
The story behind the track:
Well, the journey is going on!
Stories to tell... Moments to share...
The voyagers' paths crossed. Derun and DakhaBrakha.
The most important thing is to determine the speed of travel. As far as speed sets the rhythm of general comfort zone. Let`s suppose it will be an equable creaking of sled wheel. This sound will be picked up by the sensitive microphone and then – got into the loop station of one of the musicians. If you wish, it can be imitated with a crying cello – so the rhythm is launched. Its pulsebeat will go along with us for a long time. Are we in a hurry somewhere? No. We have outlined the range of speed limits at once. Is it possible to travel through Ukraine if you move like this? And what is more – to shift around the world looking out for the eternal beauty, become saturating with crumbs of impressions of other cultures, borrowings and imitation interspersings. Alambari – is our next stop on this route.

Derun, DakhaBrakha - Alambari | BM051 | Preview

Music of Barrios

Barrios Mangoré: Las Abejas

Performed by the 2022 National Youth Choir of Canada/Chœur national des jeunes du Canada 

Conductor: Dr. Jean-Sébastien Vallée
Composer: Carmen Braden*

*Canadian composer

Make Me a World

Crooked by Nature by Carmen Braden (NYCC/CNJC 2022)

Valentin Silvestrov, Abendserenade Aus 'Stille Musik'

Henri Tomasi - Trumpet Concerto, 2nd Mvt

In the Woodlands

A Flat Man

Questionaire

"Sansara's debut album really is sensational. I confidently say that they are already one of the finest, most exciting choirs in the UK today. Their approach to new and established repertoire is so refreshing, and their programmes are delivered with intelligence, musicality, and precision. They have an enormously bright future, and I am very excited to be part of this as an Associate Composer."

- Oliver Tarney

Cloths of Heaven

Oliver Tarney | A prayer of St Richard of Chichester (sample)

Rise up, my love (2017)
SSAATBB a cappella
Publisher: Manuscript
Duration: 3:35

Written for Spiritus Chamber Choir, Calgary AB, and their director Tim Shanz. This is a setting of the famous text from “Song of Solomon” alongside text from “Ubi Caritas” and “Set me as a seal.”

Visit www.laurahawley.ca to view the full text.

Rise Up My Love

Commissioned by The Texas Flute Society for the 2018 Myrna Brown competition, "Homeland" is a work for solo flute that questions the meaning of home when it is in political turmoil, devastated by a natural disaster or a human disaster.

Homeland

Gábor Podhorszky - baroque gitar
Orsi Toldi - vocal

Che Si Puo Fare

Barbara Strozzi Che Si Puo Fare

Live performance on Eastman Composers' Concert in Kilbourn Hall, April 4, 2019

Eri Noda, violin
Joshua Lohner, viola
Henry Myers, violoncello
Tze-Wen Julia Lin, piano
Diana Rosenblum, conductor

Program Note

    I composed the first movement of Piano Quartet in January 2015, four years before the other two.  The temporal gap, intervening between the composition of the first movement and subsequent two, is further widened by the former’s neoclassicism.  I intended the first movement as an “omni-homage,” “confronting myths of originality, as well as anxieties of influence, by assimilating characteristic attributes of admired composers, toward the partial eclipse of my individualism in favor of aspirational collectivity in their hallowed company.”  Thus, the title Perpetuum stands alone without its qualifier, mobile, as reference to a notion of timelessness.                         

Besides alliterative, the titles of second and third movement likewise betoken an essential quality of each.  Poem is named for its stanzaic phrase structure, affecting an analogy between formal verse and music, by which couplet-pairings of rhyme-ending lines accrue unto quatrains, sequenced according to a semblance of rhetorical logic.  It is compact and thoroughly dodecaphonic, splitting the aggregate into a pair of hexachordal complements that trade between string trio and piano throughout.  Accounting for piano pedaling, string resonance, and echoic memory, a twelve-tone vertical sonority occurs at least once per measure.  Pandemonium is haywire, intent on chromatic saturation via relentless aggregate-completion, horizontally and vertically.  It extends the trading of hexachordal complements into a polyphonic texture and free-associative stream of consciousness. 

Despite the leap from tonal diatonicism to atonal chromaticism that obtains between Perpetuum and its successors, the three movements share a common concern with counterpoint, balance and symmetry, by way of classically archetypal phraseology.

Piano Quartet: II. Poem

Eri Noda, violin
Joshua Lohner, viola
Henry Myers, violoncello
Tze-Wen Julia Lin, piano
Diana Rosenblum, conductor

Program Note

 I composed the first movement of Piano Quartet in January 2015, four years before the other two.  The temporal gap, intervening between the composition of the first movement and subsequent two, is further widened by the former’s neoclassicism.  I intended the first movement as an “omni-homage,” “confronting myths of originality, as well as anxieties of influence, by assimilating characteristic attributes of admired composers, toward the partial eclipse of my individualism in favor of aspirational collectivity in their hallowed company.”  Thus, the title Perpetuum stands alone without its qualifier, mobile, as reference to a notion of timelessness.                         

Besides alliterative, the titles of second and third movement likewise betoken an essential quality of each.  Poem is named for its stanzaic phrase structure, affecting an analogy between formal verse and music, by which couplet-pairings of rhyme-ending lines accrue unto quatrains, sequenced according to a semblance of rhetorical logic.  It is compact and thoroughly dodecaphonic, splitting the aggregate into a pair of hexachordal complements that trade between string trio and piano throughout.  Accounting for piano pedaling, string resonance, and echoic memory, a twelve-tone vertical sonority occurs at least once per measure.  Pandemonium is haywire, intent on chromatic saturation via relentless aggregate-completion, horizontally and vertically.  It extends the trading of hexachordal complements into a polyphonic texture and free-associative stream of consciousness. 
          
Despite the leap from tonal diatonicism to atonal chromaticism that obtains between Perpetuum and its successors, the three movements share a common concern with counterpoint, balance and symmetry, by way of classically archetypal phraseology.

Piano Quartet: III. Pandemonium

"Insects and Machines" 
Commissioned by the Red Bank Chamber Music Society 
World Premiere:  American String Quartet, May 5, 2019 in Red Bank, NJ

String Quartet No. 4 (2019)

Live premiere on Eastman Composers' Concert in Kilbourn Hall, April 4, 2019

Eri Noda, violin
Joshua Lohner, viola
Henry Myers, violoncello
Tze-Wen Julia Lin, piano
Diana Rosenblum, conductor

I composed the first movement of Piano Quartet in January 2015, four years before the other two.  The temporal gap, intervening between the composition of the first movement and subsequent two, is further widened by the former’s neoclassicism.  I intended the first movement as an “omni-homage,” “confronting myths of originality, as well as anxieties of influence, by assimilating characteristic attributes of admired composers, toward the partial eclipse of my individualism in favor of aspirational collectivity in their hallowed company.”  Thus, the title Perpetuum stands alone without its qualifier, mobile, as reference to a notion of timelessness.                         

Besides alliterative, the titles of second and third movement likewise betoken an essential quality of each.  Poem is named for its stanzaic phrase structure, affecting an analogy between formal verse and music, by which couplet-pairings of rhyme-ending lines accrue unto quatrains, sequenced according to a semblance of rhetorical logic.  It is compact and thoroughly dodecaphonic, splitting the aggregate into a pair of hexachordal complements that trade between string trio and piano throughout.  Accounting for piano pedaling, string resonance, and echoic memory, a twelve-tone vertical sonority occurs at least once per measure.  Pandemonium is haywire, intent on chromatic saturation via relentless aggregate-completion, horizontally and vertically.  It extends the trading of hexachordal complements into a polyphonic texture and free-associative stream of consciousness. 

Despite the leap from tonal diatonicism to atonal chromaticism that obtains between Perpetuum and its successors, the three movements share a common concern with counterpoint, balance and symmetry, by way of classically archetypal phraseology.

Piano Quartet: I. Perpetuum

Recorded Live at the Rolston Recital Hall, October 18th, 2019 as part of the Musicians in Residence Program at the Banff Centre concert series.

Inni means Bison in Blackfoot. This song was composed about the presence and disappearance of the Bison on the plains. The composition was supported by the Coastal Jazz Society Indigenous Artist in Residence in 2017.

Flute, Alto Flute - Jessica McMann
Viola - Karen Shepherd
Piano - Beverley McKiver
Composer: Jessica McMann

Recording: The Banff Centre for the Arts

Inni

Classic

Air on a G String

Clouds In The Mirror (This Is Not A Safe Place reimagined by Pêtr Aleksänder)

Eternal Recurrence (Reimagined by Pêtr Aleksänder instrumental)

Angel Tears in Sunlight

I Still Hope

With music described as “evocative” by The New York Times, Canadian-born Vivian Fung has distinguished herself as a composer with a powerful compositional voice, whose music often merges Western forms with non-Western influences such as Balinese and Javanese gamelan and folk songs from minority regions of China.

String Quartet No. 4 (2019)

vivianfung