Le soupir du roseau dans les bras du vent

Le soupir du roseau dans les bras du vent consists of several variations on the well known initial melody of Syrinx by Debussy. Each variation explores some timbral transformation of the melody through a set of extended techniques realized on the flute. The initial melody is slowly deconstructed throughout the variations to remain just a distant memory at the end of the piece.

-Jean-Patrick Besingrand

jeanpatrickbesingrand.com

 

Winter Variations (2014)

For any pitched instrument, solo or duplicated, in any number, to be played with (at the same time) or without John Cage’s Winter Music; instrument duplications can include higher and lower instruments of the same family like violin/viola/cello, or piccolo/flute/alto flute.

 

The score uses graphic notation to generalize extended techniques across all instruments. Based on their particular instrument, the player assigns sonic meaning to many of the symbols in the score. A proportional rhythm, built from ratios found in the Cage, sequences and layers events.

-Lou Bunk

www.loubunk.com

 

Variations on a Schenker Graph of Gesualdo

Variations on a Schenker Graph of Gesualdo was written specifically for Orlando Cela to highlight our mutual experimentalist bent. All the material for flute is derived from Felix Salzer’s Schenker Graph of a Gesualdo madrigal from the seminal tome Structural Hearing. The material is then fragmented, and presented in a scrambled form on the page, with aleatoric choices allowed to the performer as to what order in which to present these fragments. The recording of Orlando Cela presenting these fragments is then pitted against an electronic accompaniment that is comprised entirely of manipulated samples of Cela’s performance, to create a dialogue between live performance and electronic response.

-Robert Gross

 

Hang Down Your Head

Hang Down Your Head is a series of variations on the theme Tom Dooley, an Appalachian folk

song about the murder of a woman by Tom Dula in 1866. The chorus is below:

 

Hang down your head, Tom Dooley

Hang down your head and cry

Hang down your head, Tom Dooley

Poor boy, you’re bound to die

 

-Dana Kaufman

www.danakaufmanmusic.com

 

Skiagrafies

‘Skiagrafies’ (Greek for shadow etchings) is a cycle of works that looks at color through the perspective of shadows. Skiagrafies I, which was premiered at the Kimmel Center in June of 2016, was commissioned by the PRISM Quartet and the Partch Ensemble. Skiagrafies II, scored for flute and piano resonance, was written for flutist Orlando Cela. Skiagrafies III, was composed for New England Conservatory’s Wind Ensemble and dedicated to Charles Peltz and Boyang Yu. While each work of the cycle is conceived as an autonomous organism, they all stem from the same pursuit: exploring the musical dimensions of shadows. This is done in two primary ways: first, in the exploration of minute gradations of sound parameters such as pitch, timbre, and dynamics; second, in the reflections and refractions of the same sound object across the different timbres of the instrument or the ensemble. A third, perhaps more metaphorical concept of shadows in Skiagrafies is related to the way in which memory is engaged: each piece grows by continuously recalling and recasting distorted copies of previous material, effectively creating a veil of shadows upon shadows of the initial archetypal gesture. Time does not flow linearly, but in concentric circles, dynamic development giving way to introspective, dream-like contemplation of minute sonic spaces. Skiagrafies II consists of three movements: “Sombras” (shadows, in Spanish), “Rastros” (traces, in Spanish), and “Tercer Espacio” (third space, in Spanish). Sombras and Rastros unfold a melodic line, whose geometry is liquified by a multitude of ultramicrotonal inflections. Tercer Espacio creates an inverted sonic space for the instrument: the physical actions involved in sound production are at the forefront of the sound, the intense chromaticism reserved for pitch in the previous movements now used for ‘coloring’ different breath qualities.

-Stratis Minakakis

www.stratisminakakis.info

 

A turning inwards

A Turning Inwards focuses on the liminality between becoming and being. In some ways the form can be understood as a set of developed variations. each time the piece turns inwards upon itself and then remerges, it is altered in some way, until it finally reemerges in a completely transfigured state.

-Edward Maxwell Dulaney

maxwelldulaney.com

 

Self-Portrait

Self-Portrait is a piece of work which describes my inner struggle as an artist. The music represents my ideal, my intention of breaking through the barrier of actuality and reaching a new state of consciousness. The work ends as a search for further solutions. As if flying into a glass bottle, which I thought was the blue sky, I strike the transparent body, but hope carries me through and success is close at hand.

-Ziteng Ye

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