Various Artists | Orchestral Masters Vol. 5

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Orchestral Masters Vol. 5

by Various Artists

Volume 5 of our survey of exciting living composers' new works from around the world.
Genre: Classical: Orchestral
Release Date: 

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  Song Share Time Download
clip
1. Obertura Sinfonica Op. 151
Brno Philharmonic & Mikel Toms, Conductor
12:47 album only
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2. Lincoln Highway Suite—1. from the Hudson
Brno Philharmonic & Mikel Toms, Conductor
4:55 album only
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3. Lincoln Highway Suite—2. Metals Heartland
Brno Philharmonic & Mikel Toms, Conductor
4:52 album only
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4. Lincoln Highway Suite—3. Prairie View
Brno Philharmonic & Mikel Toms, Conductor
4:58 album only
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5. Lincoln Highway Suite—4. Traversing the Mountains
Brno Philharmonic & Mikel Toms, Conductor
4:56 album only
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6. Lincoln Highway Suite—5. Golden State Romp
Brno Philharmonic & Mikel Toms, Conductor
4:48 album only
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7. The Return of the Son of Man
Brno Philharmonic & Mikel Toms, Conductor
5:18 album only
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8. Sinfonietta
Brno Philharmonic & Mikel Toms, Conductor
11:22 album only
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9. Into a Dream
Brno Philharmonic & Mikel Toms, Conductor
10:15 album only
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10. Orchestral Essay
Brno Philharmonic & Mikel Toms, Conductor
8:49 album only
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11. Tempest
Brno Philharmonic & Mikel Toms, Conductor
2:53 album only
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12. Sons da Terra I
Brno Philharmonic & Mikel Toms, Conductor
27:09 album only
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13. One Day in Bitola—1. Dragorot (Dragon River)
Brno Philharmonic & Mikel Toms, Conductor
2:05 album only
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14. One Day in Bitola—2. Satot (The Clock Tower), Dzamiata (The Mosque)
Brno Philharmonic & Mikel Toms, Conductor
3:13 album only
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15. One Day in Bitola—3. Pazarot (The Market)
Brno Philharmonic & Mikel Toms, Conductor
1:47 album only
clip
16. One Day in Bitola—4. Sirok Sokak I (Main Street I), Sirok Sokak II (Main Street Ii)
Brno Philharmonic & Mikel Toms, Conductor
3:51 album only
clip
17. One Day in Bitola—5. Setaliste (The Promenade), Parrot (The Park), Tumbe Kafe (Coffee Hill)
Brno Philharmonic & Mikel Toms, Conductor
3:55 album only
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18. One Day in Bitola—6. Mojot Grad (My City)
Brno Philharmonic & Mikel Toms, Conductor
1:45 album only
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19. Lontananze Erranti
Brno Philharmonic & Mikel Toms, Conductor
10:43 album only
clip
20. Mellowstone's Heart
Brno Philharmonic & Mikel Toms, Conductor
2:58 album only
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21. Une Guerre Aveugle (13/11/15), Op. 16
Brno Philharmonic & Mikel Toms, Conductor
15:04 album only

ABOUT THIS ALBUM


Album Notes
DISC ONE
Hernán Ramírez Avila — Obertura Sinfonica Op 151
Hernán Ramírez Avila, was born in Santiago de Chile on June 10, 1941. His composition teachers include the professors Carlos Botto, Fernando García, and Gustavo Becerra - Schmidt.
His musical production consists of tonal, atonal, twelve-tone and random serial works for chamber, symphonic and choral/symphonic music. He has composed more than 169 works, many of which have been awarded in different composition competitions in Chile, Argentina, Mexico, Germany and France. He has been Professor of composition and analysis of music of the 20th century, in the University of Playa Ancha and Católica de Valparaiso.
He has received numerous awards for his works and since 1992 has been a corresponding member of the Chilean Academy of fine arts of the Institute of Chile.

Obertura Sinfonica Op 151
The Symphonic Overture op 151 was composed in 2014 and revised in 2016. It is an atonal work, composed according to the serial twelve-tone system.
However, the author has not attempted to make atonal music in the manner of Arnold Schoenberg when he created the system. The present work uses the twelve tone system rather as an expanded tonality. To do this he employs the dodecaphonic system in a personal and novel way that allows him to express himself more individually.
The work is in a single movement. Broadly, the shape is a modified ternary form: A-B-A with Coda, but with passages interspersed between the parts.


Nolan Stolz — Lincoln Highway Suite
1 From the Hudson
2 Metals Heartland
3 Prairie View
4 Traversing the Mountains
5 Golden State Romp

Nolan Stolz is a composer, scholar, and drummer based in Spartanburg, South Carolina. His compositional voice is firmly rooted in the contemporary classical tradition yet clearly influenced by his performance background in jazz-rock fusion and progressive rock. Stolz has been commissioned by the Las Vegas Music Festival Orchestra, SUNY-Stony Brook, Alturas Duo, CCSU Chamber Players, Synchronix, LVA Jazz Ensemble, and several solo performers. He has won several awards, including the Max DiJulio Composition Prize for Haystacks for orchestra, and was the winner of the Composers Voice Dance Collaboration Competition for Remnants of Bullfrog, Nevada for fixed electronic media and dance. His flute piece Princess Ka‘iulani was published in SCI Journal of Scores (51) and included on Modes, vol. 30 of SCI’s CD series. Other works by Stolz may be heard on releases from Ablaze Records, ESM, Six Strings Sounds, and Tributary Music. His compositions have been performed throughout the United States, Canada, South America, and across Europe, including several regional, national, and international festivals and conferences.

As a scholar, Stolz has published articles and given papers on his own compositions, microtonal music, theory-composition pedagogy, and jazz improvisation pedagogy at several regional, national, and international conferences. He has also published on Black Sabbath, Genesis, Rush, and Frank Zappa and the Mothers of Invention, including a book published by Rowman & Littlefield, Experiencing Black Sabbath: A Listener’s Companion.

Dr. Stolz holds degrees from The Hartt School, University of Oregon, and University of Nevada-Las Vegas. Stolz is Assistant Professor and Coordinator of Music at University of South Carolina Upstate where he teaches private composition and drum set lessons and a variety of courses in composition, theory, and popular music studies. Previously, he taught at the University of Nevada-Las Vegas, Southeast Missouri State University, University of South Dakota, and at two community colleges in Connecticut.

Lincoln Highway Suite

The Lincoln Highway, America’s first cross-country highway (established in 1913) connects two very exciting cities: New York and San Francisco. The music heard in the outer movements represents this vibrancy. Either movement can work as an opener or as a finale, so the piece may be experienced "Westward" (I–V) or "Eastward" (V–I).

The Eastern terminus of the Lincoln Highway is located in Times Square. The fast tempo of From the Hudson (New York, New Jersey) represents the fast-paced life in New York (City) and the highway as it connects with Philadelphia. There are jazz-like elements as well (brass with Harmon mutes, walking bass lines, percussion played with brushes), evoking sounds of New York jazz and Broadway musicals.

Metals Heartland (Pennsylvania, West Virginia, Ohio, Indiana, and Eastern Illinois) opens with the sounds of metal being struck in a mechanical manner, like workers laboring away in a factory. This part of the U.S. is sometimes pejoratively referred to as the "Rust Belt," but this music has a much more positive attitude. In contrast, a beautiful, soaring melody represents the gorgeous rural views one finds along the Lincoln in this part of the country.

Prairie View paints the scenery along the Lincoln Highway from the tall-grass prairies of Western Illinois and Iowa to the mixed- and short-grass prairies of Nebraska and Eastern Wyoming. It has a static, gentle and open quality that reflects the open prairies of the Midwest. Its middle section has more motion, and it represents the rolling hills over which the road navigates.

Traversing the Mountains takes the listener along the Lincoln from Wyoming and Colorado, through Utah, and across Nevada. The intimidating mountains of the West are heard as large, loud, and dissonant chords. Between these mountains are flat, serene valleys; the gentle melodies between these chords represent the road as it travels through the valleys.

The Lincoln Highway’s Western terminus is located in San Francisco. The energy found in Golden State Romp mirrors the vibrancy of the Bay Area, and the attractive views of rural California are heard throughout the movement.

This recording of Metals Heartland, Traversing the Mountains, and Golden State Romp was funded by an ASPIRE grant from the Office of the Vice President for Research at the University of South Carolina. This recording of From the Hudson was funded by a RISE grant from the Office of Sponsored Awards and Research Support at University of South Carolina Upstate and the Office of the Vice President for Research at USC. This recording of Prairie View was funded by a RISE grant from USC and USC Upstate, donations from Deb and Jon Stolz, and a grant from the Chapman Cultural Center, its donors, the County and City of Spartanburg, and the South Carolina Arts Commission, which receives support from the National Endowment for the Arts and the John and Susan Bennett Memorial Arts Fund of the Coastal Community Foundation of SC.

David Janssen — The Return of the Son of Man
American composer David C. Janssen (b. 1982) has been described as “an American Sibelius” in the way he appropriates the music of the past into a contemporary idiom. Drawing inspiration from the oeuvre of western composers of the last 400 years, his work includes classic western music genres such as Symphony No. 1, String Quartet No. 1 & 2, Suite for Unaccompanied Cello, and Piano Sonata No. 1, to name a few.
David was born in the Great Plains, Enid Oklahoma and grew up in the state capital, Oklahoma City, where he began his musical studies on Piano with Evelyn Keeton. In 1999, He began composition studies with composer Edward Knight, whose study would be foundational. Drawn to the great American metropolis, David moved to New York to study composition with Richard Danielpour, J. Mark Stambaugh and Giampaolo Bracali (orchestration). While living in New York he worked with performers/conductors such as David Gilbert and Ben Bloomfield. Later, in Boston he studied with Samuel Headrick and collaborated with performers Daria (Titova) Janssen, Paul Jacobs, Julia Glenn, and Eunmi Ko among others.
An avid music educator David is on the music faculty at University of Massachusetts – Dartmouth and Middlesex Community College. David has a doctorate from Boston University, a Masters degree from Manhattan School of Music and a Bachelors degree from Oklahoma City University. He currently resides in Boston, Massachusetts with his wife Daria and two daughters Kristina and Vivian and is working on a setting of Robert Pinsky’s poem, “Jersey Rain.”

The Return of the Son of Man
The Return of the Son of Man was first conceived in sketches made for my master’s thesis while attending the Czech American Summer Music Institute in Prague, the summer of 2006, and then premiered in New York City the following year. I was inspired by the many baroque cathedrals in Prague and Vienna which depicted the return of Christ with enormous enveloping frescos showing the glorious host of angels and saints moving from the clouds. These paintings were no doubt inspired by the Christian doctrine of the return of Christ, from which I also drew inspiration. The title “Son of Man” alludes to the Book of Daniel where Daniel describes a vision of a man who had authority, glory, and sovereignty forever (Dan.7:13,14). This work became the basis of a larger work, Symphony No. 1 composed from 2010 to 2012.


Roberto Prado — Sinfonietta
Roberto Terreiro Prado is a 22-year-old composer born in São Paulo, Brazil. He began his studies in music when he was 11 playing saxophone in small ensembles of Brazilian music. By the age of 13 he started studying piano and soon started to compose. He was accepted at UNESP (São Paulo State University) as a Bachelors degree student in Composition and he began writing music for international composition contests and film score competitions. He was finalist in two competitions held by KLK New Music and his pieces were recorded by soloists of the Philharmonic of Lviv (Ukraine). He was a participant at the 48th edition of the International Music Festival of Campos de Jordão (São Paulo). In 2016 he received a commission by the State Orchestra of São Paulo (OSESP) to compose a piece for their wind quintet that was premiered in 2017 at the São Paulo Art Museum (MASP) with Zephyros Wind Quintet.
Roberto is now a bachelor degree student at Berklee College of Music in Boston (USA) and is studying film scoring and electronic music production.

Sinfonietta
Sinfonietta is a three movement piece for a large string orchestra featuring two soloists (one violinist and one cellist). It was composed in 2016 as a deep study in string orchestration.
The densely orchestrated first movement, an Adagietto, contains multiple dissonances and time signature changes, yet has a simple theme that drifts in all sections of the orchestra and establishes a harmonic web that dialogues with both soloists.
The second movement (Allegro) assembles strong rhythmic phrases, which contrast with the first movement. The constant time signature changes, dislocated rhythmic accents and use of pizzicato in a fugato are some of the techniques used to make this movement an emphatic and lighthearted piece. A tango is referenced in the middle and at the very end of this movement.
The third movement returns to slow tempo (Adagio) and carries a romantic and light mood. A solo cello in the B section and a transition leads the listener to a darker section that contrasts with the rest of the movement and brings back the theme from the first movement.


Trimor Dhomi — Into a Dream
Trimor Dhomi, was born in Gjalove, a small yet very old and culturally important part of the city of Kosovo. At an early age, his parents moved with him and his brother to Prishtina. Here he was presented with wider concepts of music and progressed to the early stages of his professional music career. Following in his family’s tradition, Trimor entered the elementary school of music. This set him on an irreversible path towards a music career. Today he works constantly in different genres and forms of contemporary/classical music from chamber to symphonic and operas.

He composed music for more than one hundred theatre plays, modern dance/ballets, musicals, films, documentaries and TV. He works in both Kosovo’s State Universities from 2003 in Prishtina and from 2014 in Peja as an Associate Professor lecturing in the faculty of music, film and theatre. His awards and honors include publication of his Sonata for Piano in 2009 from Academy of Science and Arts of Kosovo.

One of his many awards that he values as a very important professional recognition and also
considering very lucky to have received three times winning awards and collaboration with ABLAZE Records and Brno Philharmonic with his two Symphonic works INTO A DREAM and MELODY Through Spacetime as well as COME AWAY DEATH for Mixed Choir.

Among many awards for his music for Film and Theatre it is worth mentioning his collaboration as a composer with a Kosovo and Great Britain coproduction on the film SHOK which received a nomination for the Best Live Action Short at the 2016 Academy Awards.

INTO A DREAM
INTO A DREAM, consists of new motifs that follow one another from the beginning to the end of the work. Compositional fragments and orchestration provides new perspectives, though the character of these musical ideas maintains a strong connection between each motif and the general premise of the work in both texture and dramaturgical element.

This symphonic work generates such cells that always propel the piece and process the ideas until the end of the work where melodic lines meet in parallel and are played simultaneously. As the dream comes to an end the adventure and excitement are presented in a finale where three prominent ideas are used vertically and played simultaneously. This creates an exciting concluding atmosphere of “fireworks.”


Samuel Kaplan — Orchestral Essay
Born in Lake Country, BC, Sam completed his undergraduate degree at the
University of British Columbia in Vancouver, BC. He is currently receiving further
musical training at the Glenn Gould School in Toronto, Ontario. Sam’s principle
teachers include Peder MacLellan, priniciple tubist of the Vancouver Symphony
Orchestra, and Jeff Hall, bass trombonist of the Toronto Symphony Orchestra.

Sam was chosen to have his music performed by the Vancouver Symphony
Orchestra at their annual Jean Coulthard Reading Session for 2014 and 2016. For
both years, Sam had a composition performed for the public and recorded. The
event also held intimate workshops where Sam was able to receive instruction from
composers Jocelyn Morlock and Edward Top.

As a performer, Sam was the winner of the 2014, 2015, and 2016 National
Youth Orchestra of Canada bass trombone auditions. While performing with the
NYOC, Sam participated in two of their Canadian tours, as well as one to Portugal. At
the NYOC’s training session, he received mentorship from some of Canada’s best
professional musicians including Gord Wolfe, Nick Atkinson, and Gabriel Radford to
name a few. Sam has also performed with the Vancouver Symphony orchestra on
several occasions as substitute bass trombonist.

Orchestral Essay
2015 was a grievous year for me, to say the least. A friend of mine tragically
passed away in the final year of my undergraduate degree, irrevocably changing my life
and forever altering the way I think about the world and what it means to be alive. I
began asking myself a series of questions that I deem to be very important, and yet
seem to have no real objective answer. Such questions include: What exactly are the
main motivations people have for doing the things they do? What exactly does it mean
to pursue and to find happiness? How does one know who they really are and what it
means to be one’s self? Again, these questions are extremely broad and difficult to
answer, and because of this, I have had trouble finding a truly satisfying answer for any
of them.

Orchestral Essay is a sort of artistic exploration of my own pondering about the
gravity of these questions and the events that caused me to ask them. The thematic
material presented in the beginning of the piece takes a variety of different twists and
turns, but ultimately leads to a precipitous finale. Perhaps this theme subconciously
mirrors my ceaseless questioning and a desire for the answers that I have yet to find.


Jeremy Beck — Tempest

American composer Jeremy Beck “knows the importance of embracing the past while also going his own way. … [In] Beck’s forceful and expressive sound world … the writing is concise in structure and generous in tonal language, savouring both the dramatic and the poetic.” (Donald Rosenberg, Gramophone).

Twice a finalist in the Utah Arts Festival commission competition (2013, 2006) and awarded Second Prize in the Boston Chamber Orchestra’s 2011-12 Commission Competition, Beck’s chamber opera Review was one of three finalists in the 2010 National Opera Association Competition. His String Quartet No. 2 (“Fathers & Sons”) was a finalist in the 2011 New England String Quartet International Composition Competition.

Holding degrees in composition from the Yale School of Music, Duke University, and the Mannes College of Music, Jeremy Beck’s work has been presented by New York City Opera, American Composers Orchestra, the Slovak Radio Symphony Orchestra, and the Center for Contemporary Opera, among others. Recordings of his orchestra, chamber, and vocal music are available on the Ablaze and Innova labels. www.BeckMusic.org

Tempest for orchestra

The music of Tempest comes from the Prelude to Beck’s lyric opera, The Biddle Boys and Mrs. Soffel (2000). Based on a tragic love story from the early twentieth century, Ed and Jack Biddle were condemned prisoners who escaped from the Allegheny County Jail in Pittsburgh, Pennsylvania with help from the warden’s wife, Kate Soffel, who fled with them. The boys were tracked down by a posse and killed in a shootout. Mrs. Soffel was arrested at the scene and convicted for assisting them in their escape. Commissioned and premiered by the Tuesday Music Club of Pittsburgh, Beck’s opera was named by the Pittsburgh Post-Gazette as one of the Top Ten Cultural Events in Pittsburgh for the year 2001.

Tempest is the second movement of Beck’s Three Pieces for Orchestra. The third movement of this suite, Serenade, was released in 2017 on Orchestral Masters, Vol. 4 (ar-33) and the first movement, By Moonlight, will be released on the Ablaze label in 2019.


DISC TWO
Felipe Montfort — Sons da terra I

Bio
Born in 1986 in Rio de Janeiro, Brasil, Felipe Monteforte began playing the guitar at the age of 14. This rapidly became serious and important, and resulted in intensive six to eight hour practice sessions. Through involvement in bands and various teaching roles, he decided firmly upon a career in music,

At the age of 24 he decided to learn how to score music and to play the piano. The score to the 3rd Symphony of Beethoven had a profound effect upon him and made him realize the possibilities of the written score and the beauty that emanates from it. He thinks of it as a piece of art that comes alive through interpretation.

Montfort wrote Sons da terra when he was twenty-eight and the work developed over a period of three months. He is currently writing a piano concerto much in the same style as Sons da terra.

PROGRAM NOTE
This is a work that should sound as Brazilian-Portuguese spoken word—the ‘language’ of the work resembles the flow and inflection of spoken language. Therefore, its execution should be very similar to having a conversation or singing with someone next to you.  It is a suite of Brazilian themes and the introduction of each new idea keeps the work moving forward.  The introduction exposes the language accentuation that permeates the piece and such language type inflection is carried through from the beginning to the end of the work.



Petar Jovanov— One Day in Bitola
1 Dragorot (Dragor River)
2 Satot (The Clock Tower) - (ii) - Dzamiata (The Mosque)
3 Pazarot (The Market)
4 Sirok Sokak I (Main Street Part 1) – Sirok Sokak II (Main Street Part 2)
5 Setaliste, Parkot, Tumbe Kafe (The Promenade, The Park, Coffee Hill)
6 Mojot Grad (My City)
Petar Jovanov was born in the city of Bitola, Macedonia, and migrated to Sydney, Australia at the age of seven. At eleven years of age he developed a passionate interest in music and learned to play the piano and clarinet, concurrently taking music lessons, and being classically trained on the piano. During his secondary education he studied music and discovered that he had a strong desire towards composition.
In 2005 he continued with his music studies at the University of Western Sydney (UWS) Australia, where by he graduated in 2009 with a Bachelor of Music (honours) degree. In 2013 Jovanov represented Australia with his composition Strange Ways (2013) as young composer at the 31st Asian Composers League Festival which was held in Singapore.
In 2013 Petar also composed an original filmscore for the short film The Water Vessel (dir. Iqbal Barkat, 2013). This film was an official selection for the 2014 Los Angeles Asian Pacific Film Festival. It also won an award of merit at The Indie Fest in 2013.
In 2014 Jovanov completed his post-graduate degree (Doctor of Creative Arts) at UWS under the guidance of his supervisors Dr. Bruce Crossman and Dr. Ian Stevenson. Petar’s film music is strongly influenced from his Macedonian culture. His postgraduate research focuses on creating a Macedonian-Australian compositional voice through a juxtaposition of traditional Hollywood film music conventions and Macedonian Folk music techniques.
In 2016 Petar was accepted into the ‘Summer Composition Intensive Program’ at St Mary’s College - University of Notre Dame South Bend, Indiana. Also in 2016, he was awarded a four-week artist residency at the Kimmel Harding Nelson Centre for the Arts in Nebraska. His work Yearning (2015) for violin and cello, was selected by the London music label RMN Classical for inclusion in the upcoming release titled Contemporary Collection Vol. 4.

One Day in Bitola was composed in (2016) for orchestra at the Kimmel Harding Nelson Center for the Arts in Nebraska City, NE, U.S.A. This piece is dedicated to the town of Bitola which is located in Eastern Europe in the country Macedonia. The inspiration for this music is derived from audio source material that was gathered by the composer between the months of September – October 2016 during his stay in Bitola. Photographs of the city were taken and served as additional source material. The locations that were photographed include: the river ‘Dragor,’ ‘The clock tower,’ ‘The Mosque,’ ‘The Market,’ ‘Main Street,’ ‘The Promenade,’ ‘The Park,’ and ‘Hill Side.’ These locations were chosen in particular therefore they highlight and embody the spirit of Bitola.

The audio recordings consisted of the sounds of the city such as people talking on main street, clock chimes, singing that emanated from the mosque, car and traffic sounds, footsteps, laughter, loud chatter in local cafés among multiple other timbres. Each movement is different, however the transitions from one movement to the next were carried out deliberately so as to give the impression that the movements are interlinked on a macro level. Almost all of the movements employ changing meters, and additive time signatures that are characteristic to traditional Macedonian folk music. The main concept of One Day in Bitola was to capture a day in the city of Bitola using source sounds that were reimagined in a musical way through the sounds of the orchestra.


Paolo Geminiani— Variazioni
Paolo Geminiani studied composition, electronic music, choral music and choral conducting, and band instrumentation at the conservatoires of Bologna and Modena with Cristina Landuzzi and Lelio Camilleri. Subsequently he advanced into the Master program at Verona Opera Academy with A. Corghi, Triennal course degree at ICONS Academy Novara with A. Solbiati, and other courses and masterclasses with F. Donatoni, A. Guarnieri, G. Ligeti, G. Grisey, G. Petrassi, N. Castiglioni.
He has won and received commendations at various composition competitions including: Gustav Mahler Klagenfurt, Counterpoint-Italy International, Città di Spoleto, Volos International Competition, SuonoSonda, Daegu Contemporary Music Orchestra, Valentino Bucchi Prize, Pierre Schaeffer, Egidio Carella, Reggello International Festival, and many others.
His works have been performed in Portugal, Slovenia, UK, Greece, Ukraine, South Korea, Japan, USA, Argentina, Brazil, Canada, Slovenia: International Contemporary Music Festival Deagu, Carnegie Hall, LeFrak Hall, Steinway Hall, Recital Hall-Adelphi University Garden City, and Spectrum and NYC, Columbus State University, Guitar Festival of Lipica, Guitar Festival of San Juan, Hagi Origami Museum Japan, Theatro Pedro II Ribeirão Preto, Theatre of Performing Arts, Kalamata, Concert Hall of the Lviv Philharmonic Society, Universidade de Évora, Museu Contes de Castro Guimaraes Cascais, Auditório do Departamento de Comunicação e Arte, Universidade de Aveiro, XXXVth Festival of Karditsa, Ruidalsud Festival Internacional de Música Contemporánea, 49th Festival Musica Nova Gilberto Méndes, ISCM World Music Day Slovenia.
His scores are published in Italy by Ut Orpheus, Sconfinarte, Bèrben, MAP Editions, Agenda, and TEM-Taukay; CD’s are available on TACTUS, RMN Label, CMC Milano, SuonoSonda, Soundiff, Accademia Pescarese.
He is currently on the faculty and teaching in Bari (Italy), at the Conservatorio Piccinni.

Variazioni
The composition is characterized by the overlap and articulation of the main groups of the orchestra and particularly through the dialogue and the contrast between woodwinds and strings. Later sections establish a dialogue between woodwinds and brass and other sections employ the percussion in addition to the woodwind and brass.
The first idea is dark and ominous and uses the lowest instruments of the orchestra.
Two large sections use the percussion section as protagonists, particularly the marimba, before the first violins, on an insistent ‘A’ pedal bring in the full string section which evokes a reply from the full orchestra.
Intensification of these ideas follow in a deep and lengthy development section. The ending section is fragmentary, and based on very minimal ideas until the double coda on held sounds in the low register is answered by another one in the high register from violins and violas.


Luis Rodrigues — Mellowstone's Heart
Born and raised in Rio de Janeiro, Brazil, Luis started out his musical education at an early age, and soon began playing acoustic guitar in various styles. Later on, his path brought him to work for four years at a local record label, where his music production skills and awareness were evident, and he started to interpret music from a different point of view.

His journey led him to discover the world of music for film and he became an aficionado for this orchestral style of composition. Later, he developed an interest in concert, classical and orchestral music in general.

After spending two years in Vancouver, Canada, he completed his music education, studying various topics such as sound post-production for visual media and music programming. In Canada, he started his professional career as a composer, working on a number of projects ranging from television to videogame music.

Mellowstone's Heart
Mellowstone’s Heart is a piece that is a short journey, which happens on an Andantino tempo, and is very simple and functional harmonically. It takes us to a fictional town, Mellowstone, which has open, wide landscapes of mountains, lakes and rivers. The music represents a narrative of this beautiful, but imaginary town.


Romain Corbisier — Une Guerre Aveugle (13/11/15), op. 16
Born in 1989, the French composer Romain Corbisier graduated in composition and
conducting and holds a Masters degree in composition. He studied with many great musicians including Jean-Sébastien Béreau (conducting), Daniel Capelletti (composition), Daniel Gazon (conducting), Konrad von Abel (conducting), Robertas Servenikas (conducting) and Jean-Pierre Deleuze (écriture).

As a composer and conductor, he has conducted and premiered many of his pieces in France, Germany and Portugal. His work has been recognized at the international level with many distinctions at international competitions such as the International Antonín Dvořák Composition Competition, 5-minute opera contest held during the Music Biennale Zagreb, Maurice Ravel Composition Competition, and others.

Romain Corbisier composes music that he describes as “evocative, speaking directly to the
listener’s imagination”. He writes music because he feels the necessity to tell something. That
is why there is frequently an extra-musical stimulus in his pieces.

His activity as a composer ranges from concert compositions (chamber, symphonic, opera) to
film scoring. In 2017, he composed the soundtrack of La Naissance de Narcisse, full-length movie by Hugo Parthonnaud.

He teaches écritures approfondies (post-graduate level) at IMEP (Institut supérieur de
Musique Et de Pédagogie) in Namur, Belgium.


UNE GUERRE AVEUGLE (13/11/15), op. 16
Une guerre aveugle (13/11/15), op. 16 (transl. “A Blind War (11/13/15)”) was composed in response to the terrorist attacks that occurred in Paris and Saint-Denis on 13th November 2015. The piece doesn’t seek to describe these attacks but is a reflection on the view that failing to address a problem at its source can lead to devastating consequences.

In Une guerre aveugle (13/11/15), op. 16, is in four parts. The piece begins with six shots (snare
drum and bass drum) that symbolize the six places where there was an attack on 13th November, 2015. After a huge shout of terror, the second part follows. This section introduces a motive, in the celli and basses, which represents evil. This motive is in the background but its presence grows and spreads throughout the work.

While this tension is building, a musical representation of sunlight reminds us what we have built, and what we can lose, in a molto espressivo theme. The allegro section represents a fight. All musical material for this section is derived from the first motive. This fight eventually comes to an end: the molto espressivo theme emerges as if from nowhere, in the midst of this battle. The power of destruction, of this blind war, invades the music until what has been built disappears completely.


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