Gregory Kyle | Diapason

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Classical: Piano solo New Age: Neo-Classical Moods: Type: Instrumental
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by Gregory Kyle

Contemporary classical music that explores the expressive range and power of the piano. All pieces written and performed by the composer.
Genre: Classical: Piano solo
Release Date: 

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  Song Share Time Download
1. Waterland
4:07 $1.43
2. The Ultimatum
5:56 $1.43
3. Parcendo
8:10 $1.43
4. Pluit
2:09 $1.43
5. Contradiction
3:10 $1.43
6. Adam Sees Eve
4:43 $1.43
7. Damask
6:19 $1.43
Downloads are available as MP3-320 files.


Album Notes
“Diapason” (dya-PAY-zen) n. 1. A full, rich outpouring of melodious sound. 2. the compass of a voice or instrument. Gk. Short for 'he dia pason chordon symphonia'--the concord through all the notes of the scale.

Instrumental music by definition has no lyrics, yet is full of meaning. This album is a collection of wordless piano sounds. The imaginative titles suggest possible interpretations of their expressive content, but are by no means exclusive. Listeners can bring their own imaginations to the task. Here are few more of my thoughts, as well as some background on each piece:

1. Waterland (2005)
Like all the other pieces on this album, this piece received its title after it was conceived. It seems to create an enveloping sense of benevolent illusion, as immersion in water. One of my composition teachers called it "Variations on 'Twinkle Twinkle Little Star' in the style of Debussy."

2. The Ultimatum (2007, revised 2013)
This piece is essentially a fugue, but aims to be expressive: at first capturing a sense of resigned struggle, as if against some familiar and oppressive entity; then hopeful, almost exuberant and visionary; but then extremely forceful, aggressive, and ironic. The "Ultimatum" is issued in the form of a recitative, and the imaginary oppressive entity is thrown off with force. The music ends where it begun as if all were inevitable. I drafted this piece while rehearsing the fugue from Hindemith's Third Piano Sonata in graduate school, and his influence is not absent.

3. Parcendo (2012)
Parcendo integrates classical with Indian music and toys with rhythmic expectations. The theme develops gradually until a powerful climax expands to encompass the widest range and loudest volume of the piano. What follows is a state of inebriation, whether literal or figurative--a trance-like music that, as if in response to the first climax, very slowly builds again to another climax that closes the piece.

4. Pluit (2012)
This work is a short, single-affect prelude in G-sharp-minor. The title is both Latin and French for "It is raining."

5. Contradiction (2009)
This piece opens with an unsettled but emotive chord, and seems unable to attain the sense of certainty that comes with loud and clear tonality. Instead, there are heartfelt phrases, breathed out as if with effort, but buoyed by hope. The energy level increases, until all weights are thrown off as a scale propels itself high and far, only to gradually and quietly settle into the same contradictory state of quiet, yet unsettled harmony. The music is at an impasse, incapable of resolving confidently within its sound-world; so it ends with a burst on an unexpected chord, as if to be certain about something rather than nothing at all.

6. Adam Sees Eve (2010)
I sketched this piece in NY in 2006 and completed it in CO in 2010 for a wedding. It tells the story of one apprehending some beautiful sight (i.e. a woman) for the first time. The vision only gradually settles into consciousness. Afterward, rapture and breathlessness alternate with observation and examination. Technically, the piece recalls Liszt's Un Sospiro; and harmonically, Debussy's Children's Corner. Aside from its use as a wedding piece, it can be performed as part of a diptych with "Damask," which represents the extreme opposite affect. The two pieces complement each other by being totally different.

7. Damask (2013)
Alluding both to the patterned embroidery and the artistic sword-craft of medieval Damascus, the term "Damask" aptly describes this piece: a work of patterns, middle-eastern flavor, angularity, flowing lines, and fiercely violent sonorities. It exploits the piano's status as a percussion instrument, evoking various other percussion instruments: first bells, later various drums, and finally large gongs. Damask is a mimetic work, in which the motions of the performer are as much a part of the art as the sounds themselves. Nevertheless, the recorded version offers some hints to its physical execution.

Special thanks to my Kickstarter backers and supporters who helped make this album a reality:

Josh & Serena Abdelaziz
Nathaniel & Lindsey Banke
Frank & Chris Barry
Dustin & Tina Beauvais
Ajit & Patricia Bhatti
Michael Bhatti
Don & Debbie Boyd
Tyler & Alicia Call
Pamela Capozzola
Wayne & Deborah Cavaliere
Judee Childs
Jonathan & Nicole Cottrell
Michael & Jennifer Day
Sarah Deonarine & Robert Rainer
Tarkan & Maya Dinckan
Will Dixon
Jean & Eugene Douglass
Daniel Ellis
Wendy Faraone & Jesse Nason
Autumn Farrell
Keith & Alexis Fedor
Jason & Michelle Fortin
David Ginsburg
Sharon Graham
Robert & Danielle Gutierrez
Renee & David Kinworthy
Renee Ronika Klug
Chad & Tricia Irving
Juice Jeffery
Steven & Jana Johnston
Patricia Killian
Brett Klug & Jessie Barry
Brian & Monica Klug
Brian Van Klug & Kimberly Honig
Kevin & Jenn Lamb
Philip & Randi Lewis
Jared & Rachelle Lutz
Carol Lynn
Sandy Magnusen & Ken Norem
Bernard Marcazzo
Christian & Hannah Marcazzo
Kevin & Gina Marcazzo
Matt & Melissa McNichol
Erik & Roxanna Miller
Brent & Juliet Morehart
J. Andy Moreno
Julius & Amanda Otieno
David & Eden Ovienmhada
Christine Owen
Sarah Owen
Gary & Jennifer Peters
Michael Nelson Rizzo
John Rosenquist
Lee & Julie Schwartzapfel
Kyle & Kim Searcy
Jacob & Arianne Segerman
Miki Shim-Barry
Lance & Carol Smith
Janine Sones
Jamey & Amy Sotis
Jason & Nicole Spears
Leslie Spencer
Victoire Stamoulis
Chad & Tracy Steel
Gus & Elaine Steneck
Denise Volka
Brad M. Wallace
Dan & Kerry Wells
Michael & Lizz Wertheimer
John & Lisa Zimmerman

Cover Art by Autumn Farrell.



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