closure/completion

T.J. Borden, violoncello
Whitmore Recital Hall, University of Missouri-Columbia
T.J. Borden Cello Recital
04/10/2019
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When I wrote my string quartet Culs-de-sac (en passacaille) in 2009, it was evident to me that I should develop the sonic soundscape that I have created in that piece. I have decided that I write a cycle of compositions for string quartet and its subsets. Tr (épilogue) marks the second piece that I completed in this cycle. Its title has a precursor; Tr for violoncello and piano, of which I took the formal scheme as a point of reference for the solo piece. I took the duo piece, stripped away the piano part, and enlarged the piece by adding musical commentaries. As the title may suggest, I intend that this piece concludes the cycle. In the spirit of concluding the cycle, my focus in this piece was to illuminate the gestures of ‘farewell,’ in the sense that the envelope of the phrases has the conscious trajectory of fade-out. Many thanks to Patrick McGuire who, in the symposium Creative Dialogue V, premiered the work-in-progress version as a part of Santa Fe Chamber Music Festival. Also thanks are due to Anssi Karttunen and Magnus Lindberg, whose commentaries and feedbacks were crucial to the development of the piece. Tr (épilogue) is dedicated to Pierre Morlet and Mark Andre.

Tr (épilogue) (2012/14)

Quartett (2023) für Violine, Viola, Violoncello und Klavier

Mondrian Ensemble

Ivana Pristašová Zaugg (Violine)
Petra Ackermann (Viola)
Karolina Öhman (Violoncello)
Kirill Zvegintsov (Klavier/Gast)

Gare du Nord, Basel, 04.12.2023, Uraufführung
Aufnahme SRF

Quartett

There will be track art later but I feel really excited to finally get this out. i've been working on this piece on and off for 2 years and I think its the best electronic piece I've made so far. I think I'm starting to find my production style here :)

-Commentary-
This piece is a reimagining of Bach's Toccata and Fugue in D as a Party song. I took inspiration from F-777, specifically the "Let's Freaking Party" album. I use three important motives from that piece and morph them into something completely different, but still reminiscent. The motives in question are the opening of the toccata, the theme of the fugue, and the top voice from the first sequence in the fugue. The year in the title is the furthest back estimate to when this piece may have been composed. the range is huge so I wasn't sure what year to pick. I decided the edges should probably be more recognizable vs leaning further into the pun with 1799.

Party Like Its 1705

after Conlon, Carson, Nederland, Nederland, etc�

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commissioned | Het Orgelpark
for | The Busy Drone, mechanical and midi-controlled barrel organ
premiered | Het Orgelpark, October 27, 2023
photo | Julia Bovee <3

To Make a Joyful Noise

Flux Et Reflux, 2 (2011)

Flux Et Reflux, 3 (2011)

Reminiscencias (2012)

wolfram schurig - konzert für violine und 19 instrumente
ivana pristasova-vl/PHACE/joe trafton-dir

konzert für violine und 19 instrumente

Tetexcalhuiliztli for 14 musicians (2017) is a work commissioned and written for Ensemble CEPROMUSIC in Mexico after obtaining the IBERMUSICA Artistic Residency 2017.
The title in Nahuatl refers to the act of jumping into the Abyss from the high of a mountain. 
The work is dedicated to the Mexican poet Mario Santiago Papasquiaro whose poetic work and life were a permanent act of jumping into the unknown.

Tetexcalhuiliztli, Cepromusic Darmstadt

texte: daniela danz
agata zubel - sopran
klangforum wien
johannes kalitzke - dirigent

fünf ostinati für sopran und 14 instrumente

Yoshiaki Onishi is a Japanese-American composer, conductor, and clarinetist. As a composer, he is interested in exploring a wide range of instrumental timbres and finding ways to incorporate them in musical syntaxes and forms that disrupt the sense of expectation. He has worked on commissions that have come from such festivals and organizations as Klangwerkstatt Berlin, Philharmonie Luxembourg, Takefu International Music Festival, and Gaudeamus Muziekweek, and his music has been performed by ensembles worldwide, including New Japan Philharmonic, Asko|Schönberg Ensemble, Klangforum Wien, Nieuw Ensemble, Distractfold Ensemble, Ensemble Intercontemporain, Quatuor Diotima and JACK Quartet. He is the recipient of the 2018 Guggenheim Fellowship, the 2018 Fromm Commission, and the Gaudeamus Prize 2011. Edition Gravis in Berlin, Germany publishes his music. As a conductor deeply engaged in promoting the music of today, he is Co-Director for the Mizzou New Music Ensemble and was one of the founding members of Ensemble Exophonie Tokyo. Other ensembles he has worked with as a conductor include Nieuw Ensemble of Amsterdam, ECCE Ensemble, Wet Ink Ensemble, Columbia University Orchestra and the University Philharmonic Orchestra of the University of Missouri. Increasingly active as a clarinetist and improviser, he has collaborated with composers George Lewis, Carolina Heredia, Oswald Huỳnh, Bret Bohman, and Andrew Crossley. Together with Santiago Beis, he plays in the Onishi-Beis Duo, an electroacoustic improvisation duo. Onishi received his doctorate in music composition from Columbia University in 2015. He is currently Assistant Professor of Music Composition at the University of Delaware School of Music. 

Profile Photo © 2015 by Stefaren.

Tr (épilogue) (2012/14)

Yoshiaki Onishi

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