This is a past event.
Thu, Feb 11, 2021 8pm to 9pm
Virtual Event
Student composers will have their works performed by student performers. This event is virtual and will be live streamed:
https://www.youtube.com/user/bgsumusic/videos
PROGRAM
The Steppe (2019)………………………………………….Timothy F. Parsons (b.1996)
Timothy Parsons, dombra, voice and electronics
Residuum (2018)…………………………………………….Connor Scroggins (b. 1997)
Double Suite (2019)………………………………………...Benjamin Damann (b. 1994)
I. Midnight Wondering IV. Rainy Day Mindset
II. Walking off an Absurd Noise V. As If You Could Run Away
III. A Secret Revealed VI. What Remains Unsaid
Ben Hellert, marimba (Movements I-III)
Jacob Hargrove, marimba (Movements IV-VI)
Étude Tumultueux (2020)……………………………….Benjamin Nylander (b.1997)
Benjamin Nylander, piano
47 Roses (2016)………………………………………………Adam Har-zvi (b.1994)
Cristian Rodas Dohler, flute
She Walks in Beauty (2019)…………………………….Steven Naylor (b. 1999)
Jhané Perdue, soprano
Steven Naylor, piano
Wondering (2020)…………………………………………..Connor Gibbs (b. 1995)
Joshua Heaney, sopranino saxophone
Ariel Magno da Costa, toy piano
PROGRAM NOTES
The Steppe (2019) is an electro-acoustic work for dombra, voice and electronics. I grew up overseas in Ukraine and Kazakhstan and have found that my music has often been both directly and indirectly influenced by the music I heard growing up in those cultures. The dombra is a two stringed strummed instrument that many people in Kazakhstan learn. The instrument is often improvisational, and keeping in that spirit, I wrote this piece to be a controlled improvisation. I have general figures and gestures and a form planned out, but I play it slightly different each time. I am also interacting with the electronics as I play, which respond to my instrument with echoes and effects. This piece is an homage to a country and people who still hold a place in my heart.
Residuum (2018)- Broad, vivid sounds naturally attract focused attention. As these sounds dissipate across the threshold of silence, they attract attention toward similarly quiet sounds skirting across or protruding from this threshold. These sounds though once overlooked can certainly be as vibrant and diverse as more powerful sounds. This piece illustrates this discovering of hidden subtleties beyond the prominent surface of a soundscape.
Double Suite (2019)
persuading unless...
reaction! brett — _judicial?
NO | [aut o n o my]
I wrote 47 Roses (2016) for a friend whose middle name is Rose and whose favorite number was 47. While I’ve changed as a composer in the last five years, I find that this piece meaningfully captures the spirit of an earlier point in my life.
She Walks in Beauty (2019)- In high school, a good friend asked me to set Byron's "She Walks in Beauty" for her to perform on her senior recital; both the piece and recital eventually fell through, but my friend never let me forget that she still wanted me to set the poem for her! When the time came for her collegiate senior recital, I took the project back up, starting from scratch. Byron's lovely, flowing, image-filled language gave me the opportunity to write an indulgently florid art song, four years in the making.
Combining extended harmonies and lush melodies, Wondering (2020) seeks to capture a sense of awe of a world and universe much larger than us, filled with places and things that seem unreal. Within the piece are subtle musical references to different parts of the world. The musical language is inspired by Impressionist styles, inspiring many possible mental images for interpretation by the listener. This edition is for the toy piano and sopranino saxophone, written to capture the elements of two small instruments playfully bouncing from one realm of thinking and experience to another.
