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Limonaia |
Amanda Harberg, Sonata for Clarinet and Piano
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Harberg composed her Sonata after the painful loss of loved ones in 2014 and 2015. The piece moves from being sweet and mellifluous, to a deeper color of sadness, to an insistent dance of dark energy.
Amanda Harberg, (New Jersey), https://amandaharberg.com/about/. |
Stephanie Ann Boyd, Fantasia Olora
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Boyd writes: “Fantasia Olora is a piece that I wrote at age 17 for a cellist friend over the course of three days in early February. I wrote it in the dark contemplation of winter, and I hope it speaks to the ideas that drove its creation: longing, frustration, joy.”
Stephanie Ann Boyd (New York), https://www.stephanieannboyd.com/biography. |
Oliver Caplan, In the Direction of Dreams
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Commemorating the 50th Anniversary of the United States Wild and Scenic Rivers Act, In the Direction of Dreams unfolds in three movements inspired by one of Caplan’s favorite walks alongside Walden Pond, through Adams Woods, and down to Fairhaven Bay.
Oliver Caplan (Massachusetts), https://www.olivercaplan.com/bio.html. |
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Nadeau Garden of Inspiration |
Eve Beglarian, Play Nice
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Play Nice is based on a poem by Linda Norton about knitting in the Aran Islands. The piece incorporates a sweet redemptive pattern borrowed from one of Belgarian’s previous projects, an underscore for an audiobook of Stephen King’s Gerald’s Game.
Eve Beglarian (Vermont), https://evbvd.com/blog/bio/. |
Pamela Marshall, Sunrise on the Hills
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Marshall writes: “Sunrise on the Hills is inspired by the similarly named poem by Henry Wadsworth Longfellow. It appears to me to describe the hills and valleys of some central New England landscape, maybe the Berkshires in the West where I grew up.”
Pamela J. Marshall (Massachussets), https://www.spindrift.com/spbio1.php |
Bruce Brolsma, Third Mode Melody Variations
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Brolsma writes: “Third Mode Melody Variations is based on Thomas Tallis’ beautiful 16 th century hymn tune, Third Mode Melody, which uses the Phrygian mode rather than a more traditional major or minor scale.”
Bruce Brolsma (Massachusetts) received a Ph.D. in music theory from Northwestern University in Evanston, Illinois, and has been active primarily as a composer of sacred music associated with University Lutheran Church, Harvard Square, Cambridge. |
Evan Fein, Sailing On Starlight
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As the son of an Astrophysicist, Fein composed his piece inspired by the life-cycles of stars. Recent advances in astronomy allowed scientists to discover that the material ejected by a dying star accelerates by catching the light of the parent star and riding it like a sail.
Evan Fein (New York), http://evanfein.com/ |
Alice Gomez, La Calavera
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La Calavera draws its name from the traditional Mexican loteria card depicting a skull with crossbones. This long lost soul guided Gomez as she created this mysterious, peculiar composition.
Alice Gomez (Texas), https://www.alicegomezmusic.com/bio.html |
Marta Kowalczuk, Drapex
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Kowalczuk writes: “I wrote Drapex for my friend, a horn player, when I was in my first year of university. The name of the composition comes from her surname - Drapiewska. The idea for the piece was to find a way to present these instruments, to find a sound that would connect them.”
Marta Kowalczuk (1998) is a Polish composer living in Germany. Currently, she is pursuing a Bachelor's degree in composition under Prof. Michael Obst at Hochschule für Musik Franz Liszt Weimar. |
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The Meadow |
Allison Loggins-Hull, Homeland
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In this piece, Loggins-Hull asks: What do we do with a place we feel we belong, when we cannot belong? What happens to our meaning of home when it is in political turmoil, devastated by a natural disaster or a human disaster?
Allison Loggins-Hull (New Jersey), https://allisonloggins.com/about/. |
Linda Chase, Wildfire Rages, River Whispers, Resilience
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Chase’s piece remembers the wildfires in California along her beloved Scott River and reflects on the current climate crisis. Chase writes: “In these challenging times of climate change, resilience is necessary through active participation in bringing about what we hope for – what we want to protect – this is what the river whispers.”
Linda J. Chase, (Massachusetts), https://www.lindajchase.com/about. |
Arvo Pärt, Spiegel im Speigel
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Translated to “Mirror in the Mirror,” this piece relies on clarity, simplicity, and pureness of sound, with each phrase followed by one that mirrors its partner.
Arvo Pärt (Estonia), https://www.arvopart.ee/en/arvo-part/. |
Timothy K. Adams Jr., Tears
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Timothy K. Adams Jr., (Massachusetts) https://www.tkadamspercussion.com/.
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Astor Piazzolla, Tango Etude No. 3
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Tango Etude no 3 displays the results of Piazzolla’s characteristic experimentation with traditional tango. This new tango melds the classic Latin American style with jazz elements.
Astor Piazzolla (1921-1992) (Argentina), https://en.wikipedia.org/wiki/Astor_Piazzolla. |
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Lawn Garden |
Oliver Caplan, Canciones de Monteverde
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Canciones de Monteverde is built on musical interpretations of seven bird calls, a small sample from Caplan’s bird watching experience in Monteverde, Costa Rica-- one of the most biodiverse places on the planet.
Oliver Caplan (Massachusetts), https://www.olivercaplan.com/bio.html. |
Derrick Spiva Jr., American Mirror
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Spiva Jr. writes: “American Mirror reflects on the coming together of cultures in our society, which consists of many generations and descendants of refugees, immigrants, and slaves, and how intercultural collaborations are essential to the well-being of American society.”
Derrick Spiva Jr. (California), https://www.derrickspiva.com/about/. |
Oliver Caplan, Lunastella Fuga
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Caplan writes: “Lunastella Fuga was composed during the dog days of summer, nights spent gaping at the stars and wandering the New Hampshire woodland aglow in the otherworldly light of a blue moon.”
Oliver Caplan (Massachusetts), https://www.olivercaplan.com/bio.html. |
Jessie Montgomery, Strum
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Written in 2006 for the Providence String Quartet and the guests of Community MusicWorks Players, Strum draws on American folk idioms and the spirit of dance and movement. The piece's narrative begins with fleeting nostalgia and transforms into ecstatic celebration.
Jessie Montgomery (New York), https://www.jessiemontgomery.com/biography. |
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Secret Garden |
Derrick Spiva Jr., Hum
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Spiva Jr. writes: “Hum is a piece that imitates the human voice. It is a personal meditation, meant to sound as if one is improvising a song in an intimate moment.”
Derrick Spiva Jr. (California), https://www.derrickspiva.com/about/. Dance Choreography by Mary Chris Debelina (Vermont), http://debelinadance.weebly.com/ |
Rossa Crean, Three Sean-Nos Folk Songs
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Crean comes from an Irish family, trained in the Celtic sean-nos (old style) way of singing. Crean writes: “ It was a way for me to express myself as a painfully shy child. The tales of love, heartbreak, war, victory, and other realms made me realize that magic existed in ways besides what existed on the written page; it lived within the realm of sound and voice.”
Rosśa Crean (Chigaco), https://rossacrean.com/bio. Dance Choreography by Mary Chris Debelina (Vermont), http://debelinadance.weebly.com/bio.html. |
Rachel Panitch, Winged
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Panitch writes: “Winged was written after a flight with a particularly melodious flight attendant. At first I thought I was hearing boredom in her voice as she repeated the same phrases to each passenger, but I soon realized there were a lot of really subtle variations depending on each passenger she encountered as she traveled down the aisle.”
Rachel Panitch (Massachusetts), http://www.rachelpanitch.com/about-1. |
Heather Gilligan, Living in Light
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Living in Light captures the emotion behind American Poet Sara Teasdale’s despair, while ultimately favoring a sense of enduring love. To create this dichotomy, Gilligan writes four contrasting pieces that remain simple while giving each song its own, distinct personality.
Heather Gilligan (New Hampshire), https://www.heathergilligan.com/biography. |