Tagged: Innova Recordings Toggle Comment Threads | Keyboard Shortcuts

  • richardmitnick 5:35 PM on May 30, 2018 Permalink | Reply
    Tags: , , Innova Recordings, Music for dance, , , Rick Baitz - Into Light   

    From Innova: “Rick Baitz – Into Light” 

    From Innova the home for New Music in America

    Innova is the recording arm of American Composers Forum, St Paul Mn.

    http://www.innova.mu/
    http://composersforum.org/

    Rick Baitz – Into Light

    1

    Feel the heat, from Durban and Rio to the Big Apple

    Composers Rick Baitz

    Performers:
    Joyce Hammann
    Mary Rowell
    Beth Meyers
    Ashley Bathgate
    Brian Shank
    Christian Lundqvist
    Jeremy Smith
    Brian Shankar Adler
    Rick Baitz
    Ken Thomson
    Jessica Meyer
    Stephen Gosling

    Catalog Number: #1 012
    Genre: new classical new music
    Collection:
    string quartet
    percussion
    chamber
    music for dance

    Release Date:
    Aug 24, 2018

    Track List:
    1. CHTHONIC DANCES for String Quartet
    21:54
    Joyce Hammann, Mary Rowell, violins; Beth Meyers, viola; Ashley Bathgate, cello

    2. HALL OF MIRRORS for Percussion Quartet & Electronics 14:41
    Brian Shank, Christian Lundqvist, Jeremy Smith, Brian Shankar Adler, percussion; Rick Baitz, laptop computer

    3. INTO LIGHT for Clarinet, Viola & Piano 21:54

    Ken Thomson, Bb clarinet; Jessica Meyer, viola; Stephen Gosling, piano

    Total Time 58:37

    All music © & ? Rick Baitz & 110th Street Music (BMI), 2018. All rights reserved.
    Innova Recordings is the label of the American Composers Forum.
    http://www.innova.mu http://www.rickbaitz.com

    Credits:
    1. Chthonic Dances for String Quartet (2011, revised 2016)
    Recorded June, 2016 at Dubway Studios, New York City; Stephen Kurpis, engineer. Edited and mixed by Rick Baitz.

    Gratitude to New Music USA, which, in its earlier incarnation as the American Music Center, helped fund Chthonic Dances through its Composer Assistance Program.

    2. Hall of Mirrors for Percussion Quartet & Electronics (2015)

    Commissioned by The Juilliard SchoolÕs Center For Integration in the Arts. Includes mbiras, windwands, surdo, nipple gongs, dumbek, temple blocks, caxixi, cowbell, tam-tams, talking drum, triangle and tabla, with live electronic processing and pre-recorded sounds. Recorded April 2015 & Nov. 2016, Rick Baitz Music, New York City; Nathan Prilliman & Rick Baitz, engineers. Edited and mixed by Rick Baitz.

    3. Into Light for Clarinet, Viola & Piano (1984)
    Recorded June 2017 at Oktaven Audio, Mount Vernon, NY. Engineered, edited and mixed by Ryan Streber.

    All music mastered by Ryan Streber at Oktaven Audio.

    Album art and design by Matthew Monk.

    Special thanks to Reed Robins, Scott Hampton, Jonathan Duckett, Peter Cressy, Ed Bilous, Mary Rowell and Brian Shankar Adler. Thanks also to Philip Blackburn and Innova Recordings, and to David Cossin, Mick Rossi, Ryan Streber, and Matthew Monk. And thank you to all the extraordinary musicians who played on this album.

    And finally, everlasting thanks to Penny Wang Baitz. This album is dedicated to you.

    Innova Director: Philip Blackburn?Operations Director: Chris Campbell?Publicist: Tim Igel
    Innova is supported by an endowment from the McKnight Foundation.

    See the full article here .

    Please help promote STEM in your local schools.

    Stem Education Coalition

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00-2:00 featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Frdays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00Pm


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

    Advertisements
     
  • richardmitnick 1:08 PM on May 30, 2018 Permalink | Reply
    Tags: Biography, Innova Recordings, JENNY OLIVIA JOHNSON - SYLVIA SONGS, , , Sylvia Plath   

    From Innova: Jenny Olivia Johnson – Sylvia Songs 

    From Innova the home for New Music in America

    Innova is the recording arm of American Composers Forum, St Paul Mn.

    http://www.innova.mu/
    http://composersforum.org/

    1

    Catalog Number: #999
    Genre: experimental new music
    Collection: women, ambient

    Description:
    An offering and an archive, a memorial and a reverie
    Composers:
    Jenny Olivia Johnson
    Performers:
    P. Lucy McVeigh
    Lavena Johanson
    David Russell
    Isabelle O’Connell
    Jenny Tang
    Eliko Akahori
    Lisa Liu
    Nicholas Knouf
    Jenny Olivia Johnson

    3
    Voy aprender inglés

    JENNY OLIVIA JOHNSON – SYLVIA SONGS
    four songs and three interludes offered in homage to Sylvia Plath, and four places in which she lived and worked
    innova 999

    1 New York 7:36
    2 Glass Heart: Interlude 1 6:09
    3 Boston 4:45
    4 Glass Heart: Interlude 2 6:36
    5 Devonshire (The 8th Bell Jar Smashed on the Full Moon in Scorpio) 3:04
    6 Glass Heart: Interlude 3 5:41
    7 Wellesley 11:38

    – 45:31 –

    “I began composing these songs for Sylvia Plath in Fall 2012, when I was living in the North End of Boston. I finished them in Summer 2017, in my faculty apartment at Wellesley College. Each of these four songs–interspersed with three interludes recorded from my sound installation Glass Heart: Bells for Sylvia Plath – is inspired by a city or town in which Sylvia had a significant life event take place: New York City, Boston, Devonshire, and Wellesley. In this elegiac collection, I attempt to weave my own stories about and relationships to each of these places with those of Sylvia’s, resulting in a kaleidoscopic tapestry of fragmented feelings, images, and fantasies.

    NEW YORK – Sylvia spent the summer of 1953 in New York as an intern at Mademoiselle magazine, and returned home to Boston/Wellesley in August 1953 exhausted and deflated. I spent the years between 1996 and 2009 in New York as a music student, and moved to Boston/Wellesley in August 2009 terrified and lonely. This opening song imagines both of our New Yorks – Sylvia’s and mine – as unobtainable fantasies, as lost lovers, and, in my case, as a dreamy setting fueled by memories of seeing New York in 80s movies and TV shows. I also, in this music, meditate on a description of Sylvia I read in Elizabeth Winder’s biography Pain, Parties, Work, quoted above: she is always thirty. I decided to use a hypnotic repetition of the word always in this song as both a representation of a frozen-in-time fantasy of being forever young and in love in New York, and also as a foreshadowing of the repeated word never that will eventually close the fourth and final song Þ a word Ted Hughes chillingly employs when describing his reaction to his estranged wife’s suicide in Birthday Letters.

    You are / Coming / Home
    To New York / Always
    You are always thirty / You are always coming home
    To New York / You are always / On my mind
    I’ll see you in New York

    BOSTON – This movement is a short and haunted meditation on Sylvia’s cryptic note to her mother – I am going for a long walk – which she apparently wrote the day she disappeared from her home in Wellesley in August 1953 and first attempted suicide. I thought of this long walk many times during my own long walks on the Boston waterfront in the frigid winter of 2012-13, and attempted to craft a soundscape that would emulate the hypnotic feverishness of a suicidal overdose, as well as the repetitious, rhythmic heartbeat of Plath’s famous quote from The Bell Jar: I took a deep breath and listened to the old brag of my heart: I am, I am, I am.

    I am going for a long walk.

    DEVONSHIRE (The 8th Bell Jar Smashed on the Full Moon in Scorpio) – In this brief choral fantasy – inspired by early religious polyphony – I imagine the church near Plath and Hughes’s home in Devonshire, UK, where Plath wrote her poem The Moon and the Yew Tree in 1961. I became fascinated by the church as Plath describes it in this poem (“Twice on Sunday, the bells startle the sky – Eight great tongues affirming the Resurrection”) because she notes that its bell tower contains eight bells. Coincidentally, my sound sculpture Glass Heart (Bells for Sylvia Plath), which I installed at the Smithsonian National Portrait Gallery in June 2017, also contains eight bell jars, a decision that was made before I ever read this poem. This coincidence became even more fascinating to me in May 2017, when the eighth bell jar for my exhibition was accidentally shattered on the full moon in Scorpio (Plath’s astrological sign). I attempt in this music to reconcile this shattering, which devastated me, as a crucial reminder that Plath found the bell jar oppressive Þ a metaphor for the attenuation of her feelings that occurred as a result of the treatments she was given for clinical depression (electroshock therapy and lithium). In this music you will hear someone continuously and aimlessly scraping and sifting through piles of shattered glass, perhaps trying to find any last remnants of their once-vibrant emotions, or their former sense of identity or personhood.

    WELLESLEY – The final song in this cycle returns us to Plath’s childhood town of Wellesley, Massachusetts, where I now live and work, and uses as its repeated lyrical content a fragmented quotation from one of Plath’s earliest poems, I Thought I Could Not Be Hurt: how frail the human heart must be. The music’s hypnotic repetitions are performative of trying to remember and trying to forget. After a sprawling series of Lydian-mode cycles (purposefully composed in a mode that I synaesthetically perceive as the color purple, and therefore representative of the mixture of red and blue veins and arteries of the human heart that comprise my sound sculpture for Sylvia), we find ourselves immersed in a hollow musical landscape inspired by the words of Ted Hughes, Plath’s estranged husband, who writes of her suicide: “What happened that night, inside your hours, is as unknown as if it never happened.” To express what I can only imagine was Hughes’s harrowing desire to be able to reverse events – to make this tragic thing that happened into something that never happened – I use the remaining moments of this music to obsess over the word never never…..never….(which is, of course, also a nod to the plaintive fantasy of the first movement: always….always…always)”

    Jenny Olivia Johnson, Wellesley, MA, February 2018

    “Liquors seep to me‚ in this glass capsule‚

    I thought I could not be hurt‚

    How frail the human heart must be‚

    Enclosed in a wall of glass‚”

    “What happened that night, inside your hours,

    is as unknown as if it never happened”

    Never happened

    Never

    Never

    TEXTS BY THE COMPOSER;
    FRAGMENTS BY SYLVIA PLATH AND TED HUGHES.

    Jenny Olivia Johnson. All Rights Reserved, 2018.

    innova Recordings is the label of the

    American Composers Forum.

    http://www.innova.mu http://www.JennyOliviaJohnson.com

    Composed and produced by Jenny Olivia Johnson, inspired by fragmented quotations by Sylvia Plath and Ted Hughes

    All tracks mixed and mastered by Ryan Streber at Oktaven Audio, August-November 2017

    MUSICIANS: P. Lucy McVeigh, vocals; Lavena Johanson, cello; David Russell, cello; Isabelle O’Connell, piano; Jenny Tang, piano; Eliko Akahori, synthesizer; Lisa Liu, electric guitar; Nicholas Knouf, analog synthesizer and reel-to-reel tape delay; Jenny Olivia Johnson, digital synthesizers, percussion, and cassette tape noise

    Album cover art by Jacqueline Kras Pinson

    THANK YOU, ALWAYS: To my incredible collaborators (Lucy, Izzy, Lavena, Lisa, Nick, Eliko, David, Jenny T., Jacqueline/JQ, Ryan, and Jess); Mom, Dad, Gina, Harold, Freddie, and all my Kauai family; Laura and Elizabeth; Sue; Daniela; Gilbert; Ashley; Marty; Jeannine, Elite Scholars of China, and Wellesley College; Lisa, Elaine, and the Davis Museum; Dorothy, Alex, Grant, Kyle, and the Smithsonian National Portrait Gallery; Nikki, Mike, Dave, and Thomas; Dr. JRG; Lamia; and, of course, Sylvia.

    Innova Director: Philip Blackburn

    Operations Director: Chris Campbell

    Publicist: Tim Igel

    Innova is supported by an endowment from the McKnight Foundation.

    See the full article here .


    five-ways-keep-your-child-safe-school-shootings

    Please help promote STEM in your local schools.
    stem
    Stem Education Coalition

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00-2:00 featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Frdays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00Pm


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 2:45 PM on April 27, 2018 Permalink | Reply
    Tags: David Kechley -The Walbrzych Project, Innova Recordings, New classical,   

    From Innova: “David Kechley -The Walbrzych Project” 

    Innova is the home for New Music in America

    Innova is the recording arm of American Composers Forum, St Paul Mn.

    http://www.innova.mu/
    http://composersforum.org/

    1

    David Kechley
    The Walbrzych Project
    A global vision from a small Polish town

    Composers:
    David Kechley

    Performers:
    Philharmonia Sudeka

    Catalog Number: #932
    Genre: new classical
    Collection: orchestra

    Release Date: Apr 27, 2018

    Music by David Kechley
    The Walbrzych Project

    The Walbrzych Project
    My first compact disc, Winter Branches (1997) took more than 10 years to complete. It began with an idea to record two pieces requiring three performers, but it grew with the addition of more works, more performers, and more recording venues. The Walbrzych Project is my fifth collection, and it also has taken longer than planned. Unlike Branches it was complicated from the outset. It includes a seven-minute introductory work for large orchestra and a four-movement symphony involving performances by hundreds of individuals not to mention travel to audition an orchestra in the Czech Republic before final arrangements were made with Sudeten Filharmonie. Its Chief Conductor Jerzy Kosek worked with New York-based Joel Suben to rehearse and prepare the orchestra for five recording sessions that took place during one week in the small, faraway city of Walbrzych, Poland. And then the project remained stymied after I encountered unexpected health problems in 2013. I am grateful to have recovered enough to finish the editing and production of this collection, and I have hopes it won’t be my last either.

    David Kechley began composing as a teen after years spent listening to his composer and music professor father Gerald at the piano. At 19, The Seattle Symphony premiered Second Composition for Large Orchestra and since then more than 1,000 performances of his work in a variety of genres have been performed by orchestras, chamber groups and college musical ensembles throughout the United States and abroad.

    His music draws from 20th Century classics and from vernacular, popular, and ethnic music. Time spent in Kyoto, Japan, profoundly affected his compositions. His pieces are marked by a distinctive style, but his musical narratives are known for sharp contrasts between lyricism, virtuosity, and dramatic gesture.

    Kechley’s work has been recognized and applauded for nearly 40 years by such organizations as the John Simon Guggenheim Foundation, the National Endowment for the Arts, the North Carolina Arts Council, and the Massachusetts Cultural Council. Born in Seattle, Kechley was educated at the University of Washington, Cleveland Institute of Music, and Case Western Reserve University. He also followed his father into music education, teaching at the University of North Carolina in Wilmington, and teaching and chairing the Music Department at Williams College in Williamstown, Massachusetts until his recent retirement as professor emeritus.

    Disc One
    Karasuma
    A Fast Funk for Orchestra

    Karasuma has been called a crossover piece as it combines popular fusion music rhythms and themes with classical style development and orchestral techniques. The work originates from music written for a presentation given at for the Music Department at Doshisha Women’s College in Kyoto, Japan. To show various ways in which the computer could be used in music composition and performance, I composed a demonstration piece in which music students were to perform written parts on their acoustic instruments while I conducted and improvised at the computer. The instrumentation was completely dependent upon which students volunteered. It turned out to be violin, clarinet, strings bass, piano and two percussionists. The original Fast Funk was a rather loosely constructed improvisation designed for a specific situation and has not been performed since. However, many of the musical ideas continued to play themselves in my head me so I eventually felt compelled to give them a permanent home in this orchestral form.

    Karasuma was premiered by the Boston Pops in the summer of 1993 under the title Blackbird. The present, Japanese, title is more meaningful since it specifically refers to a well known street and subway line in Kyoto. Although the word karasu written with its corresponding Chinese kanji characters does mean black bird, raven or crow, the actual name of the street is taken from several kanji characters chosen for their sounds. There are also interesting historical origins to the name Karasuma and its kanji characters that date so far back most modern residents of the area may even not be aware of them. While karasu and its kanji do mean raven or blackbird, thus explaining the original title, the relationship between a bird and this familiar location is pretty much coincidental.

    I created the original themes for Fast Funk to be entertaining, fun to play, American in character and immediate in effect. It was a wonderful experience working with those music students at Doshisha Women’s College and was a highlight of my trip to Japan in 1991. Karasuma is dedicated to Tomomi Ogino, Makiko Oda, Akemi Ueno, Mika Matsumoto, Miwa Oda and Yukiko Iwaasa the first Fast Funk players.

    Disc 2
    Wakeful Visions / Moonless Dreams
    A Symphony in Four Movements

    I. Whirlwind
    II. Notari Notari
    III. Something Wicked
    IV. Moments

    Dreams can sometimes seem quite real while visions experienced in the light of day may seem completely unreal. Dreams or visions can be frightening, comforting, spiritual, playful, and so many other things. Each movement of Wakeful Visions / Moonless Dreams explores some of these qualities and finds its point of departure in a suggestive literary source.

    I. Whirlwind

    As the title suggests, is a fast and furious musical reaction to the well-known biblical quote: “For they have sown the wind, and they shall reap the whirlwind…” (Hosea 8:7). Regardless of its original Old Testament context this phrase clearly applies anytime human actions produce dire consequences, which are ultimately beyond the limits of human control or understanding, i.e., irreversible.

    The movement opens quietly, bubbling below the surface, but quickly becomes explosive with rhythmic interjections, which constantly threaten the stability of the driving triplet rhythms. The transition to a more lyrical, but still foreboding mood is sudden and the harp and marimba continue to provide the underlying rhythm for more sustained and complete thematic statements by solo and tutti strings. The explosions return, but the final texture ultimately implodes as the movement crashes to an abrupt finish.

    II. Notari Notari is inspired by the following haiku:

    Haru no umi
    Hinemosu notari
    Notari kana

    Behold! The spring sea undulates
    And undulates the whole day long.

    A delightful picture of the halcyon spring sea rises to the mind’s eye at once. As far as the eye can travel, the ocean swells and sinks gently and regularly all day long. This is how translator Asataro Miyamori describes this beautiful poem by Buson (An Anthology of Haiku Ancient and Modern,1932). . . . The chief merit of this verse [is] the pleasing rhythm of notari-notari which cannot adequately be reproduced in a translation. The music moves beyond the imagery and rhythm of the words, as the flute begins an expansive and lyrical solo. The musical ideas continue to expand beyond the first movement into broad and climatic statements. A cello and piccolo dialog returns to the opening mood and imagery.

    III. Something Wicked

    The musical imagery for Something Wicked is suggested by MacBeth, Act IV, Scene I, in which the three witches are chanting as they circle the bubbling caldron. Just before Macbeth enters, the second witch says,

    By the pricking of my thumbs,
    Something wicked this way comes.
    Open, locks,
    Whoever knocks!

    Because of its playful although not really dance like rhythms, perhaps this serves the role of a traditional symphonic third movement. It might even be called a scherzo in a somewhat grotesque and twisted sort of way. Percussion and various orchestral effects are employed to create a sense of malevolence and occasional chaos from which the ultimate outcome is not entirely clear.

    IV. Moments

    Moments is, among other things, about looking back and wondering if what we remember really happened or if it may have been a dream. Musical fragments from previous movements return in original form while others continue their transformative journey and create new connections with one another in a different musical reality, the reality of the present moment.

    “The moments of the past do not remain still; they retain in our memory the motion which drew them towards the future, towards a future which has itself become the past, and draw us on in their train.”
    Marcel Proust

    Produced by David Kechley
    Graphic Design by Rose Michelle Taverniti
    Liner notes by David Kechley; Liner notes edited by Rosemary Armao
    Innova is the label of the American Composers Forum.
    David Kechley 2017. All Rights Reserved.

    Innova Recordings, 75 W 5th St #522, St. Paul, MN 55102, USA
    Innova Director: Philip Blackburn; Operations Director: Chris Campbell; Publicist: Tim Igel
    Innova is supported by an endowment from the McKnight Foundation http://www.innova.mu http://www.pinevalleypress.com

    See the full article here .

    Please help promote STEM in your local schools.

    STEM Icon

    Stem Education Coalition

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00-2:00 featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Frdays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00Pm


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 3:12 PM on April 25, 2018 Permalink | Reply
    Tags: "Life As Is", , , Gao Hong- Chinese pipa, Innova Recordings, Issam Rafea- Syrian oud,   

    From Innova: “‘Life As Is’ Gao Hong, pipa, and Issam Rafea, oud” 

    Innova is the home for New Music in America

    Innova is the recording arm of American Composers Forum, St Paul Mn.

    http://www.innova.mu/
    http://composersforum.org/

    Gao Hong, pipa, and Issam Rafea, oud, met right here in Minnesota last year and began blending their sound worlds through improvisation. Issam came from Syria and Gao from China, both leaving their respective homelands due to political strife. The result is Life As Is, a beautiful collection of free expression.

    1

    Issam Rafea and Gao Hong: Life As Is

    The Blending of Ancient Souls from China and Syria
    Composers: Issam Rafea, Gao Hong
    Performers: Issam Rafea, Gao Hong

    Catalog Number: #997
    Genre: world
    Collection: China, Middle Eastern improvisation
    Release Date: May 25, 2018

    Life As Is

    The Blending of Ancient Souls from Syria and China
    Issam Rafea and Gao Hong
    Issam Rafea, oud
    Gao Hong, pipa
    Innova 997
    726708699727

    Walking the Distance 4:11
    Summer Rain 3:41
    Undercurrent 3:23
    Up and Down 3:55
    Hidden Dance 6:42
    Life As Is 5:50
    Homesick 4:04
    Chasing Butterflies 4:26
    Chance Encounter 6:04
    Heavy Heart 4:38
    Childhood 3:22
    Short Film 5:27
    Total: 55:44

    Improvisations by Issam Rafea, Syrian oud, and Gao Hong, Chinese pipa

    Issam Rafea and Gao Hong met in the spring of 2017 at Carleton College in Northfield, Minnesota, where Gao Hong teaches and directs the Carleton Global Music Ensemble. Issam was an artist-in-residence during the spring term, and Gao Hong invited him to teach her students about Arabic music. At the end of the term, she suggested they go into a studio to record some improvisations just for fun. To their surprise and delight, they immediately bonded as soon as they started to play. Their improvisations were so cohesive that it seemed as if they had worked together for years. They recorded in one long session that went from early afternoon through late evening. They played without any rehearsal (besides each bringing to the session a lifetime of listening, instrumental mastery, and a passion for communication), and completed each track in a single take. Of the 28 tracks they laid down, 12 were selected for this album.

    Both artists come from lands going through political strife — Issam Rafea living through the recent war in Syria, and Gao Hong growing up during the Cultural Revolution. Now, they continue to pursue their musical visions in the United States. They both are performers and composers and love to improvise, just like they have had to navigate their lives to survive. They both use their hearts to play music, and both believe that music needs to come from their souls and deepest feelings. Hence the title — Life As Is: The Blending of Ancient Souls from Syria and China.

    Life As Is is a reflection of both of their lives. It is their life stories, as reflected in the track titles. Both of them Walking the Distance to America to follow their dreams. They recorded their music on a rainy summer day, and even though they didn’t talk about what Summer Rain should sound like, they shared the exact same feelings. Their lives have not always been easy, and that is expressed in Undercurrent and the uncertainty of their lives in Up and Down. But even in their darkest hours, they still remained optimistic and hopeful, as if there were a Hidden Dance soon to appear in their lives. Sometimes, living so far away, they get Homesick and have a Heavy Heart as they miss their homelands and families, but they keep working hard and chasing their dreams as in Chasing Butterflies. And they are thankful for the music they have made together in their Chance Encounter. They share their happy Childhood stories in their music. So many wonderful stories, but they realize life is so short, just like a Short Film. This is their life, these their tales – Life As Is!

    Music speaks to the heart, across language, across conflict.
    Music unites nations from far and wide!
    Producer: Paul Dice
    Recording/Mixing: Stephen McKinstry at the
    Salmagundi Recording Studio
    Mastering: Greg Reierson at Rare Form Mastering
    Title Chinese Translation: Chen Jiang
    Photo: Eve Li, Peycen Ouyang

    See the full article here .

    Please help promote STEM in your local schools.

    STEM Icon

    Stem Education Coalition

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00-2:00 featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Frdays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00Pm


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 10:04 PM on April 20, 2018 Permalink | Reply
    Tags: , , , Innova Recordings, , Zeitgeist   

    From Innova: “Inn-fest 2018” 

    Innova is the home for New Music in America

    Innova is the recording arm of American Composers Forum, St Paul Mn.

    http://www.innova.mu/
    http://composersforum.org/

    1
    Inn-fest 2018: innova Recordings, label showcase comes to the Twin Cities April 27-28 and features a smorgasbord of local and national acts from its roster of visionary artists. Co-presented by innova Recordings and Zeitgeist, Inn-fest shows the range of ground-breaking composed and improvised music on the label, tied to brand new and recently released albums. From pan-cultural improvisations and laptop-percussion dialogues, to what a saxophone can do in a single breath, and the world of possibilities with a bassoon reed–there’s enough to pique any listener’s curiosity.

    2

    3

    See the full article here .

    Please help promote STEM in your local schools.

    STEM Icon

    Stem Education Coalition

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00-2:00 featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Frdays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00Pm


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 5:12 PM on April 17, 2018 Permalink | Reply
    Tags: Baljinder Sekhon - Places and Times, Experimental new classical, Innova Recordings,   

    From INNOVA: “Baljinder Sekhon – Places and Times” 

    Innova is the home for New Music in America

    Innova is the recording arm of American Composers Forum, St Paul Mn.

    http://www.innova.mu/
    http://composersforum.org/

    1
    Mapping the interior terrain
    Composers: Baljinder Sekhon
    Performers:
    Dave Gerhart
    Los Angeles Percussion Quartet
    Dieter Hennings
    McCormick Percussion Group
    Robert McCormick
    Eunmi Ko
    Line Upon Line Percussion

    Catalog Number: #988
    Genre: experimental new classical
    Collection: percussion

    Release Date:
    Apr 27, 2018

    1. Passageways 9:31

    Dave Gerhart, steel pan soloist

    Los Angeles Percussion Quartet: Matt Cook, Justin DeHart, Cory Hills, Nick Terry

    with guest performer David Johnson

    2. Musica Casera 12:14

    Dieter Hennings, guitar soloist

    McCormick Percussion Group; Robert McCormick, director

    Percussionists: Michael Carp, Daniel Dau, Sherry Donataccio, Sean Hamilton, Christopher Herman, Kevin von Kampen, Kyle Kinsey

    Death Is an Adviser

    Eunmi Ko, piano soloist

    McCormick Percussion Group; Robert McCormick, director

    Percussionists: Rod Alnord, Karlyn Barbur, William Brown, Nicholas Faivre,

    Michael Giunta, Anandpall Rehsi, Nicolas Remy, David Ruth, Michael Skillern

    3. I. any time. any place. 2:24

    4. II. maybe today. maybe tomorrow 3:28

    5. III. touched. not felt. 2:55

    6. IV. a worthy opponent. 2:27

    7. V. now or later. 3:31

    8. VI. dream come true. 5:55

    9. Sun 9:30

    line upon line percussion: Adam Bedell, Cullen Faulk, Matthew Teodori

    10. Refuge 8:50

    McCormick Percussion Group; Robert McCormick, director

    Percussionists: Tyler Carr, Michael Garcia, Nick Gigante, Sean Hamilton,

    Nicolas Remy, Daniel Rodriguez, Kyle Spence

    —60:47—

    This is no ordinary album of percussion ensemble music. These compositions explore a wide spectrum of possibilities offered by the percussion family, from the aggressive noise of a cymbal on piano strings, and peaceful meditations created by finger cymbals gently buzzing on a vibraphone, to the curious thump of a person falling onto a bass drum. These intricately beautiful sounds enhance the featured instruments — steel drum, piano, and guitar — in three of these works. This expansive sonic palette of sounds gives plenty of space for the listener to explore emotional nooks and crannies along this journey inspired by a deep exploration of the potential for any sound, at any time and place, to be music. I am grateful for the extraordinary talents of the amazing Los Angeles Percussion Quartet, line upon line percussion, and the McCormick Percussion Group.

    — Baljinder Sekhon, Jan. 2018

    Passageways is scored for solo steel pan and percussion ensemble. In this work, each section is a process-oriented progression of rhythm, pitch, and timbre. The segments of this work can be heard as a string of transitions where each section leads to the next. In essence, this work is a collection of passageways that lead to seemingly static states of being that quickly develop a pattern and momentum that generates the next event.

    Passageways was made possible by a consortium commission organized by Dave Gerhart. The world premiere of this work was presented on March 28, 2015 by the Chicago Youth Symphony Orchestra Percussion Ensemble and soloist Dave Gerhart at the Logan Center for the Arts in Chicago, IL.

    Scored for classical guitar and seven pitched percussion instruments, Musica Casera explores the timbral boundaries between guitar and keyboard percussion. Through the use of harmonics, bowed percussion, pitch bending, natural resonance, percussive striking, and fast strumming passages, this work highlights the similarities between these instruments. The title translates to “Homemade Music” and refers to the compositional process of experimenting with musical ingredients. While the guitar is a solo voice throughout the work, the entire ensemble contributes equally to a single sonic experience full of color and motivic development.

    Death Is an Adviser is scored for solo piano and nine percussionists. This work is a continuation of two of my compositional interests: it is the eighth work in a series of pieces for solo instrument with percussion, and the third in a series of works modeled after the shamanistic philosophies described by anthropologist Carlos Castaneda in his writings about being an apprentice to the sorcerer Don Juan Matus in the 1960s.

    I have been heavily influenced by the teachings of Don Juan, specifically those found in the book Journey to Ixtlan. Death Is an Adviser is a chapter from the book that deals with the awareness of death and how such awareness advises our decision-making in life. The movement titles each have double meanings, which reflect both the philosophy that inspired the piece and the compositional process. I am interested in finding ways for my creative work as a composer and other life activities to intersect and become the same. For this piece, in an effort to work and spend time with my family at once, my daughters and wife drew numbers from a hat to determine pitch orderings, durations, and contour. After selecting numbers for pitch and duration, and combining them, we’d run to the piano to play it and hear how it turned out – we made a game out of it. While I believe the relationship between the movement titles and the philosophy of Death Is an Advisor is obvious, here is a summary of how they relate to the compositional process.

    I. any time. any place. – This movement uses a series of pitches and durations with a randomly selected ordering. The events in this movement could occur at any time, depending on the duration selected, and any place (in pitch space), depending on the pitch class selected. Although the score is fixed, the compositional process was dependent on an open process that could have yielded any number of pitch/duration combinations.

    II. maybe today. maybe tomorrow. – This movement works in cycles that I conceived of as days passing. The movements alternates between fast knocking sounds from the piano and improvisatory musical developments. Either of these alternating segments could be interpreted as day or night, dreaming or living. The pitches are derived from a cycle of hexachords from a serial matrix and a corresponding magic square matrix.

    III. touched. not felt. – This movement includes the depression of piano keys in such a way that the hammers don’t touch the strings. In these moments the pianist touches the keys but the felt does not touch the strings. Instead, a clave is used to excite the touched strings. While composing this work, I was thinking about Don Juan’s description of death always lurking to your left.

    IV. a worthy opponent. – This movement title is actually a different chapter title from Journey to Ixtlan. In essence, the philosophy of “A Worthy Opponent” deals with conquering your own obstacles and competing with yourself. The pitches and rhythms in this work abstractly exist in two related pitch networks that work together in an effort to find harmony and balance. They fail to do so.

    V. now or later. – This movement explores a fleeting harmonic and timbral language, through the use of a constantly transforming harmonic sequence and bending of pitches. The sequence is designed to obscure any sense of tonal cadence. The resting point could come at any moment or it could come later. The pitch bending, which is another unsettling component of the movement, is explored through a triangle being used to bend pitches in the piano, and extended bending techniques in the vibraphone, marimba, timpani, and a porcelain bowl.

    VI. dream come true. – This final movement is ritualistic, conceived of as a funeral, and includes segments of the previous five movements. In addition to these segments, this work presents a large-scale pitch design that governs the entire piece. This is most clearly demonstrated in a unison section where everyone performs homorhythmic music and, like a memory, experiences the previous movements in brief recapitulated passages.

    In a world where death is the hunter, my friend, there is no time for regrets or doubts. There is only time for decisions. — Carlos Castaneda, Journey to Ixtlan.

    Scored for three percussionists, Sun explores a variety of musical energies. From tired phrases to extended climactic passages to short-lived bursts of sound, many segments of music are intertwined and overlaid in a way that creates a singular event with various “flares” of sound on its surface. These segments are often separated by silent moments that, because of their context, each express a different type of energy.

    The instrumentation of the individual percussion parts are very similar; that is, each percussionist has one keyboard instrument, “skin” (containing a drum head), wood, and metal. In addition, all of the percussionists share one large cymbal that is central to the staging. At times the three percussion parts are treated as one large instrument with three performers working towards one musical character. This orchestration and interaction alternates with each performer executing their own layers of sound to create a heterophonic texture. The percussionists use a multitude of techniques to create a palette of nuanced sounds. In addition to common performance practices, they use their hands, fingers, knuckles, and fingernails to muffle, modify, and create a large spectrum of characteristics.

    Refuge n. – any place person, action, or thing that offers or appears to offer protection, help, or relief.

    Scored for seven percussionists, Refuge is a musical escape that employs a variety of pitched and non-pitched instruments. Each percussionist plays a pitched bell, a keyboard instrument, and a variety of skins and accessories. The seven bells create a seven-note pitch series that informs the harmonic, melodic, and rhythmic material throughout the work. With an option of entering the performance space while carrying and playing the bell instruments, the percussionists hang their bells one at a time as they begin performing at their respective setups. This is a process-oriented work in three sections, with the most discernible processes taking place during the introduction. With one bell each, the percussionists collectively perform a seven-note motive, with a modular rotation of pitch orderings, until the pattern returns to the original ordering. At that time, one pitch is left out and a similar pattern takes place again. This continues until only one pitched bell remains (Ab). The pitch orderings that result from the patterns during the introduction generate all of the harmonic and melodic material used for the main three sections of the piece.

    Throughout history, composers have created musical situations that express an ideal world or scenario that could serve as an escape from the rigors and complications of reality. Through discourse, music is often referred to as a magical art with the power to temporarily transport a listener. In an effort to confront and organize a chaotic view of life, my recent output is focused on creating works that mimic, or are modeled after, the imperfections of life. Refuge is a work that attempts to address both of these interests and concepts in a single piece. This piece is an organization of a disorderly environment of noise and resonate sounds, with the aim of placing them on a spectrum that makes sense of an otherwise littered environment. Rather than escaping life, as a composer or listener, by creating a fictional musical experience, my goals here are to make sense of life through composing. Through thoughtful organization, I am seeking refuge in the very conditions that cause distress.

    The music of Baljinder Sekhon has been presented in over 500 concerts in twenty countries. From works for large ensemble to solo works to electronic music, Sekhon’s demonstrate a wide range of interests and styles. Sekhon’s compositions for saxophone and percussion instruments are widely recognized as pioneering works in those genres with numerous presentations, CD recordings, critical reviews, and guest lecture appearances.

    Sekhon serves as Assistant Professor of Composition at the University of South Florida where he received a 2017 Outstanding Undergraduate Teacher award, and he holds the PhD and MA from the Eastman School of Music (Rochester, NY).

    Los Angeles Percussion Quartet: http://lapq.org

    line upon line percussion: http://lineuponlinepercussion.org

    McCormick Percussion Group: http://mccormickpercussiongroup.com

    Credits:

    Produced by Baljinder Sekhon

    Mastered by Greg Reierson at Rare Form

    Symbol drawings for each work: Teresa Sekhon

    Photo: Gerry Szymanski

    Passageways

    John Baffa, engineer

    Ian Stahl, assistant

    Recorded at Chapman University, Orange, CA

    Edited and Mixed at TvTray Studio, Ventura, CA, July 2016

    Musica Casera

    John Zumwalt Stephan, engineer

    Recorded, Edited, and Mixed at Springs Theatre, Tampa, FL, March 2014

    Death Is An Adviser

    John Zumwalt Stephan, engineer

    Recorded, Edited, and Mixed at Springs Theatre, Tampa, FL, April 2017

    Sun

    Paul Coleman, engineer

    Edited and mixed by Paul Coleman in Rochester, NY

    Recorded in Caldwell-Carvey Foyer at Southwestern University, Georgetown, TX, June 2016

    Refuge

    John Zumwalt Stephan, engineer

    Recorded, edited, and mixed at Springs Theatre, Tampa, FL, November 2014

    This work was supported, in part, by the University of South Florida Research & Innovation Internal Awards Program under Grant No. 0085192.

    This album is dedicated to Teresa, Izabel, and Skyler, with love.

    Innova is supported by an endowment from the McKnight Foundation.

    Philip Blackburn, director, design

    Chris Campbell, operations director

    Tim Igel, publicist

    http://innova.mu

    See the full article here .

    Please help promote STEM in your local schools.

    STEM Icon

    Stem Education Coalition

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00-2:00 featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Frdays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00Pm


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 12:29 PM on March 29, 2018 Permalink | Reply
    Tags: Innova Recordings,   

    From Innova : New Music 

    Innova is the home for New Music in America

    Innova is the recording arm of American Composers Forum, St Paul Mn.

    http://www.innova.mu/
    http://composersforum.org/

    1

    Robert Gibson, Flux and Fire
    Robert Gibson: Twelve Poems: I. Aura
    Composers:
    Robert Gibson
    Performers:
    James Stern, Audrey Andrist, Robert Oppelt, Richard Barber, Jeffrey Weisner, Ali Kian Yazdanfar, Eric Kutz, Aeolus Quartet,Katherine Murdock

    Catalog Number: #993
    Genre: new classical
    Collection: chamber, violin, viola, double bass, cello, string quartet

    Release Date:
    Jul 27, 2018

    Liner Notes:
    View

    Many more, visit https://www.innova.mu/albums

    Please help promote STEM in your local schools.

    STEM Icon

    Stem Education Coalition

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00-2:00 featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Frdays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00Pm


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 4:23 PM on March 28, 2018 Permalink | Reply
    Tags: , , Collection: improvisation, Genre: Jazz, Graham Haynes, Innova Recordings, , , Jennifer Choi, , , , , Night Wave, , Susie Ibarra, , , , Yuko Fujiyama   

    From Innova: “OUT NOW! Night Wave: Pianist/composer/improviser Yuko Fujiyama with Susie Ibarra , Jennifer Choi, and Graham Haynes” 

    Innova is the home for New Music in America

    Innova is the recording arm of American Composers Forum, St Paul Mn.

    http://www.innova.mu/
    http://composersforum.org/

    1

    Yuko Fujiyama
    Night Wave
    Yuko Fujiyama: Woven Colors
    Description:
    That moment on a sidewalk
    Composers:
    Yuko Fujiyama
    Performers:
    Jennifer Choi
    Susie Ibarra
    Graham Haynes
    Yuko Fujiyama

    Catalog Number: #995
    Genre: Jazz
    Collection: improvisation

    Release Date:
    Mar 23, 2018

    1.Woven Colors 03:18
    2.Up Tempo 09:37
    3.Romance 01:49
    4.Clash 00:59
    5.Premonition 03:09
    6.Indignation 03:01
    7.Fireworks 01:17
    8.Beyond the Sound 06:41
    9.Waltz of the Shadows 01:11
    10.Autumn Whispers 02:53
    11.Floating on a Breeze 02:19
    12.Leap 01:59
    13.Starlight 01:14
    14.Night Wave 07:57
    15.Tale of the Old Tree 02:55

    See the full article here .

    For new music by living composers

    John Schaefer

    newsounds.org from New York Public Radio

    For great Jazz


    WPRB

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00AM-2:00PM featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Fridays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00PM


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

    Please help promote STEM in your local schools.

    STEM Icon

    Stem Education Coalition

     
  • richardmitnick 2:07 PM on March 28, 2018 Permalink | Reply
    Tags: , , Innova Recordings, , , , , , , Places and Times BY Baljinder Sekhon, , The Walbrzych Project BY David Kechley, , ,   

    From INNOVA: “Two new releases in April” 

    Innova is the home for New Music in America

    Innova is the recording arm of American Composers Forum, St Paul Mn.

    http://www.innova.mu/
    http://composersforum.org/

    Composer and percussionist Baljinder Sekhon, brings forth his exuberant and ear catching pieces for percussion ensemble on Places and Times. David Kechley’s The Walbrzych Project consists of two orchestral works, brought to life in the Polish town bearing the same name, that are influnenced by everything from a classroom in Japan, to Shakespeare, to the Old Testament, to Proust. All combined, these influences are reflected by the expansive pieces on this album.

    1
    Places and Times BY Baljinder Sekhon
    RELEASE 27 April 2018

    Places & Times is a collection of sonorous landmarks and magical moments; percussion ensemble works that are as compelling as they are mysterious. It is also a record of some of the ways in which life and art might share a journey. Composer and percussionist Baljinder Sekhon, with a doctorate from Eastman and currently teaching at the University of South Florida, has brought together three fine percussion ensembles to present his exhilarating vision: Los Angeles Percussion Quartet, McCormick Percussion Group, and Line Upon Line Percussion.

    Three of the works on the album feature solo instruments with ensemble: steel pan (Dave Gerhart), guitar (Dieter Hennings), and piano (Eunmi Ko). The combinations afford a wide range of possibilities, from the aggressive noise of a cymbal on piano strings, and peaceful meditations created by finger cymbals gently buzzing on a vibraphone, to the curious thump of a person falling onto a bass drum.

    Death Is an Adviser is one of a series of works modeled after the shamanistic philosophies described by anthropologist Carlos Castaneda in his writings about being an apprentice to the sorcerer Don Juan Matus in the 1960s.

    Sekhon writes: I have been heavily influenced by the teachings of Don Juan, specifically those found in the book Journey to Ixtlan. Death Is an Adviser is a chapter from the book that deals with the awareness of death and how such awareness advises our decision-making in life. The movement titles each have double meanings, which reflect both the philosophy that inspired the piece and the compositional process. I am interested in finding ways for my creative work as a composer and other life activities to intersect and become the same. For this piece, in an effort to work and spend time with my family at once, my daughters and wife drew numbers from a hat to determine pitch orderings, durations, and contour. After selecting numbers for pitch and duration, and combining them, we’d run to the piano to play it and hear how it turned out. We made a game out of it.

    Passageways 9:31
    Musica Casera 12:14
    I. any time. any place 2:24
    II. maybe today. maybe tomorrow 3:28
    III. touched. not felt 2:55
    IV a worthy opponent 2:27
    V now or later 3:31
    VI dream come true 5:55
    Sun 9:30
    Refuge 8:50

    2
    The Walbrzych Project BY David Kechley
    RELEASE 27 April 2018

    David Kechley’s latest album of orchestra music is a lot easier to listen to than pronounce. It draws from far flung parts of the world, and historical origins, and brings them into a grand compelling vision.

    The album features two large scale orchestra works recorded with dazzling clarity by the Sudeten Filharmonie in a small Polish town, Walbrzych (most recently in the news for supposedly being the subterranean hiding place of the infamous Nazi gold train).

    The first work, KARASUMA: A Fast Funk for Orchestra, started life as a classroom exercise at the Doshisha Women’s College in Kyoto, Japan, where Kechley demonstrated how acoustic musical fragments could be combined in various ways by computer. The work was so successful it was expanded and premiered by the Boston Pops in 1993.

    The other major work on the album is a symphony exploring various aspects of dreams, WAKEFUL VISIONS / MOONLESS DREAMS. Each of the four movements is associated with literary references; from the Old Testament, a haiku by Buson, the Witches’ scene from Shakespeare’s Macbeth, and musings on remembrance by Marcel Proust.

    David Kechley recently retired from teaching at Williams College, Massachussetts. Taken as a whole this is a record of an expansive imagination and an intercontinental achievement.

    Karasuma_ A Fast Funk for Orchestra 8:11
    Wakeful Visions _ Moonless Dreams_ Notari … 10:21
    Wakeful Visions _ Moonless Dreams_ Whirlwind 6:37
    Wakeful Visions _ Moonless Dreams_ Somethi… 8:36
    Wakeful Visions _ Moonless Dreams_ Moments 9:45

    Received via email .

    For new music by living composers

    John Schaefer

    newsounds.org from New York Public Radio

    For great Jazz

    WPRB

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00AM-2:00PM featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Fridays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00PM


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

    Please help promote STEM in your local schools.

    STEM Icon

    Stem Education Coalition

     
  • richardmitnick 5:48 PM on March 9, 2018 Permalink | Reply
    Tags: , Choral, , Innova Recordings, , , The Crossing,   

    From INNOVA: The Crossing 

    Innova is the home for New Music in America

    Innova is the recording arm of American Composers Forum, St Paul Mn.

    http://www.innova.mu/
    http://composersforum.org/

    1

    If There Were Water
    Gregory W. Brown: The Valley of Lost Names
    Description: Displacement in our time
    Composers: Stratis Minakakais, Gregory W. Brown
    Performers: The Crossing Donald Nally
    Catalog Number: #998
    Genre: experimental new classical
    Collection: choral
    Grammy nominated
    Release Date:
    Feb 23, 2018

    2

    Seven Responses
    Description: An exercise in re-membrance
    Composers: Caroline Shaw, Hans Thomalia, Pelle Gudmundsen-Holmgreen, Anna Thorvaldsdottir, David T. Little, Santa Radniece,Lewis Spratlan
    Performers: The Crossing International Contemporary Ensemble Donald Nally
    Catalog Number: #912
    Genre: new classical
    Collection: choral


    Song Title
    1.To the Hands: No. 1, Prelude (Wordless) 02:11
    2.To the Hands: No. 2, In Medio 02:59
    3.To the Hands: No. 3, Her Beacon-Hand Beckons 03:40
    4.To the Hands: No. 4, Ever Ever Ever 03:10
    5.To the Hands: No. 5, Litany of the Displaced 03:00
    6.To the Hands: No. 6, I Will Hold You 03:09
    7.I Come Near You 13:51
    8.Ad Cor: No. 1, Wound 03:56
    9.Ad Cor: No. 2, Joy 02:29
    10.Ad Cor: No. 3, I Laugh at You Mockingly 02:03
    11.Ad Cor: No. 4, Wound – Joy – I Laugh at You 04:32
    12.Ad Genua 10:04
    13.Dress in Magic Amulets, Dark, from My Feet 14:33
    14.My Soul Will Sink within Me 16:46
    15.Common Ground: Prologue 02:50
    16.Common Ground: Scene 1 03:44
    17.Common Ground: Scene 2 06:56
    18.Common Ground: Scene 3 05:46
    Catalog Number: #912
    Release Date: Feb 3, 2017

    See the full article with many more albums here .

    For new music by living composers
    newsounds.org from New York Public Radio

    For great Jazz
    WPRB

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00-2:00 featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Frdays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00Pm

    Please help promote STEM in your local schools.

    STEM Icon

    Stem Education Coalition

     
c
Compose new post
j
Next post/Next comment
k
Previous post/Previous comment
r
Reply
e
Edit
o
Show/Hide comments
t
Go to top
l
Go to login
h
Show/Hide help
shift + esc
Cancel
%d bloggers like this: