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Various Artists | Millennial Masters, Vol. 7

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Millennial Masters, Vol. 7

by Various Artists

Exciting new music Batzner, Buch, Chan, Bogdan, Feliz, Mazis, Jiang and Santoro. Terrific and individual voices in new composition from around the world.
Genre: Classical: Contemporary
Release Date: 

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  Song Share Time Download
1. Supernatural: 1. Ghost Circle
Bruce Bonnell
7:21 $0.99
2. Supernatural: 2. Silhouettes Receding
Bruce Bonnell
9:08 $0.99
3. Beyond the Mountains, Beneath the Clouds: 1. —
Brian Buch
1:55 $0.99
4. Beyond the Mountains, Beneath the Clouds: 2 —
Brian Buch
2:27 $0.99
5. Beyond the Mountains, Beneath the Clouds: 3 —
Brian Buch
3:36 $0.99
6. Shape of Wind
Yu-Fang Chen
7:22 $0.99
7. Etudes for Solo Piano: 1. Introduction
Valentin Bogdan
3:08 $0.99
8. Etudes for Solo Piano: 2. Basso Ostinato
Valentin Bogdan
0:57 $0.99
9. Etudes for Solo Piano: 3. Sets
Valentin Bogdan
2:15 $0.99
10. Etudes for Solo Piano: 4. Aug (Mented)
Valentin Bogdan
1:47 $0.99
11. Gandingan Sa Kagiliran (For Two Percussionists)
Christian Smith & Ryan Kelly
4:30 $0.99
12. Sea Colours (For Guitar Trio)
Atheneum Guitar Trio
8:06 $0.99
13. Weeping Dewdrops Drizzle and Sorrowful Farewell
Lu Zhang, Shangqian Li, Shuoxuan Wang & Sirun He
8:29 $0.99
14. Mili-for Solo Baroque Flute and Pre-Recorded Flutes
Mili Chang
5:15 $0.99
Downloads are available as MP3-320 files.


Album Notes
Supernatural is a set of pieces written in collaboration with Bruce Bonnell for natural horn and live electronics. The first movement, Ghost Circles, is a single melody set against a gradually evolving drone. The title is taken from Jeff Smith’s epic graphic novel Bone. The second movement, Silhouettes Receding contains hectic, spastic, staccato gestures initiated by the horn until a long and lyrical line emerges. The hectic material returns but is beaten back into place for a subdued and introspective ending.

Beyond the Mountains, Beneath the Clouds
My ambitions in composition are to explore the unattainable elements in language. This process often leaves me with a vision of a lone traveler climbing a mountain to stare into the heavens. Each movement in Beyond the Mountains, Beneath the Clouds is reflective of this three-part journey: the physical climb, the view at the summit and beginning of sky, and the dreams of the unattainable beyond. These three parts present a collage of triumph, wonder, and submission representing my own personal journey as a translator for my musical curiosities. No matter the distance traveled and visions seen, there will always be more paths to walk and stories to dream.

Shape of Wind
The wind is not an object like water. It is the movement of air, just like current is the movement of water. This movement of air is an ever-evolving phenomenon that can transform air into different forms and shapes. It can carry elements like water, sand, or bigger objects to battle gravity. In Shape of Wind, the wind carries sound. In this piece, written for and dedicated to violinist Yu-Fang Chen, the pitch relationships reflect an interpretation of Yu-Fang’s name mapped to both the tempered and the quarter-tone scales. The gestures are inspired by the shape of wind as elements are carried by the wind to create visuals like a tornado, a typhoon, or a sandstorm. This piece depicts the movement of wind sonically and gesturally.

Etudes for Solo Piano
1. Introduction
2. Basso Ostinato
3. Sets
4. Aug(mented)
I believe that any musical performance involves three equally important entities: the performer, the composer, and the listener. Audience reaction, their response to the music, is one of the things that makes a live performance unique. This set of etudes aims to involve all three entities; these pieces apply the meaning of the word etude, “study”, not only to the performer but also to the audience and composer. Some of the writing is meant to challenge the pianist, similar to the etudes of past major composers, while some of these etudes are the result of the composer challenging himself to make the most of certain techniques. Finally, some of these works involve the listener, who is asked to create his or her own understanding of what he or she hears, as part of an intellectual challenge.

Gandingan sa Kagiliran
The title of this piece translates roughly as “gongs (looming) on the horizon.” Confronted with reflections about physical distance, migration, cultural difference, and images of horizons, this work captures a process of musical and textual dialogue between two percussionists placed at opposite ends of the performance space. The use of voice as a percussive element facilitates the reconstruction and emergence of a new narrative from combining two haiku verses by Patricia Rodriguez (Pagniig ng Paghihiwalay ng Liwanag at Dilim), written as separate verses meant to be fused together. A fabric of gong sounds emerges and concludes the work, symbolizing notions of yearning for the looming horizon, for what lies beyond the infinite void between where one is and where one yearns to be.

Ako’y paakyat
ang araw ay lulubog
gabi’y lakbayin

Into the zenith
The sun prepares for its sleep
Behind the mountains

Anino’y mawawala
Nakatago sa likod ng buwan
umaga’y hihintayin

Its shadow begins to disappear
Concealed in the celestial Luna
The dawn is waited upon

Sea Colors
Sea Colors, for three guitars, was composed in 1997, during one of my summer trips in Corfu, and it was inspired by its picturesque beaches. The premiere took place at the Corfu Guitar Festival the same year. From a technical point of view, I am trying to take advantage of the timbral richness of the guitar, using various techniques. The material is based on new modes that I have named “Harmonic Modes,” and that are created by the combination of harmonic series. The modes are constituted of forty-eight notes that exceed the octave, and are extended through a range of five octaves. I use mathematic proportions and distance of the golden section between the sections.

Weeping Dewdrops Drizzle and Sorrowful Farewell
The music is derived from a Chinese poem with seven words, that depicts a sorrowful scenario of farewell. There are seven sections in the work, and a pitch-center system is applied. In the work, the music and the words reflect one another in a harmonious way.

Mili, for solo Baroque flute and prerecorded flutes (2014)
Mili for Baroque flute and recorded piccolo, C flute, and alto and bass flute was written with the idea of incorporating two different sound worlds: the Baroque flutes and the modern flutes. This work is conceived as an aria followed by eight short variations that are increasingly faster and in which the four modern flutes are deprived of their “idiomatic” sound and always use extended techniques such as percussive sounds, key sounds, multiphonics, and so on. The Baroque flute and the other flutes never play together but fill each other’s empty space through the eight variations like the continuous discourse between modern and old.



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