Get to Know...Sen Lin We consider ourselves very lucky to be exposed to so many wonderful composers through the FNMC Composition Contest. It offers us the opportunity to become familiar with the music of composers from throughout the United States and all over the world! We’ve had finalists and winners from Argentina, Australia, China, Croatia, Greece, Hong Kong,Italy, Korea, Mexico, Portugal, Spain, Switzerland, and Taiwan. From 2014-2018 we’ve recognized 58 different composers through the composition competition, many of whom we would not have had the opportunity to learn about otherwise. A perfect example of this is Sen Lin. Sen was born and raised in China and is currently working towards his master’s degree and living in Weimar, Germany. He doesn’t have a web presence at this time, so without his entry in the competition our members wouldn’t have had the opportunity to learn about his Fantaisiestueck for flute and alto flute (finalist flute duo 2018). Fantaisiesteuck is a challenging romp with lots of opportunities to explore a variety of extended techniques and colors.
Q&A with Sen… Who is/are your favorite “new music” composer/s and why? This position is constantly changing, but at the moment it belongs to Chaya Czernowin. Her music possesses an almost primordial gaze, originating from an immense and bottomless core, at this point to reveal some physical things. The process of revelation is a central concept to Czernowin’s oeuvre. This is what makes me very interesting. When did you join FNMC and what attracted you to the organization? At first I heard the FNMC was influenced by composer Zhou Long and his flute works. From there I also knew about the FNMC Composition Competition. I think this competition is very meaningful and helpful for composers, flutists and the development of new flute works. Last year I saw information about the FNMC Composition Competition on the Internet, so I did not hesitate to participate. More About Sen… Sen Lin was born in 1991 and started his musical education already in his childhood studying piano, music theory as well as composition in Suihua(China, Heilongjiang Province) where he grew up. After finishing high school, he studied composition under Prof. Jixue Wu at Shenyang Conservatory of Music in Shenyan during 2010-2015. Since 2016 he began his Composition Master studies with Prof. Michael Obst and Dr. Ulrich Kreppein at University of Music Franz Liszt Weimar, Germany. In 2016 he was the 1st Prize Winner at the international “Musica per Archi” Composers Competition. After one year he recieved a third prize at the 2nd Edition Alfred Schnittke International Composition Competition 2017, Ukraine. The awarded work Blue Flame is published by Italian Aldebaran Editions in 2018. His works include orchestra, chamber music as well as film music. His music has been performed by many professional ensembles and organizations such as DNT(Deutsche Nationaltheater und Staatskapelle Weimar), Ensemble Recherche and Lviv National Philharmonic Symphony Orchestra in Germany, Italy, Ukraine, China and the USA.
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Catch up With...Cherise Leiter For those who follow our composer spotlights, Cherise Leiter may be a familiar face. She was a finalist in 2014 for her beautiful work for flute/alto flute and cello, Chroma. We loved the timbres she created in that duo and we were pleasantly surprised when it was revealed that she was the winner of this year’s chamber music category for The Life in the Day for flute/alto flute, guitar, and cello. Again, she deftly creates unique and beautiful timbres and beautiful melodies, this time adding the guitar to the ensemble she so skillfully composed for in Chroma. We're pleased to share that Cherise will be meeting with Nicole Riner, our wonderful Membership and Communications chair, in 2018 and we look forward to sharing their conversation, but in the meantime we wanted to give you all an opportunity to catch up with Cherise.
We look forward to hearing two works Cherise completed recently, a duo for two flutes entitled Vignettes and a work for flute and fixed electronics, Penitence and Praise. We’re also really pleased to learn that Chroma has been recorded. There are more details about all of these exciting announcements in the Q&A below! Q&A with Cherise… What about new music for the flute appeals to you? One of the things I love about the flute is that despite its ancient and glorious lineage and the tremendous body of literature written for it, we can still discover new sounds, new techniques, and new effects. That is what appeals to me so much when writing for the flute. I play just enough flute to be a danger when writing for it, and I love experimenting with techniques, fingerings, etc. While my chamber piece "The Life in a Day" is in the more traditional vein, I still had fun exploring meter and tone color. I also love the fact that flutists really dig new music and are not the least bit scared of it! That is VERY attractive from a composer's point of perspective. Describe your musical background and current activities. I have a Bachelor’s degree in music theory, and was perfectly content in my Common Practice literature and analysis, until I had to take a class that was intended to introduce theory majors to the art of composing. I entered it kicking and screaming (at least internally), and left it headed to graduate school as a composition major. I have composed a number of pieces for flute in the past few years—primarily in chamber settings—and have enjoyed it very much. I now have a piece for flute and fixed electronics (Penitence and Praise) that was a commission from Colleen White, which pushed me into a new area. I also recently finished a flute duo which was commissioned and premiered by Naomi Seidman and Cristina Ballatori at the most recent NFA conference. Outside of the flute world I am finishing up a piece for wind ensemble (although it does have flutes in it!) and also working on a piece for solo piano—a set of etude variations on the folk song written by the female outlaw, Belle Starr. Do you have any upcoming events that you would like our friends and followers to know about? I am thrilled that “Chroma,” a piece I composed for flute and cello (and that was an FNMC finalist in 2014), has been recorded by the Jano Duo on their recent CD “Dreaming in Color.” They did an AMAZING job with it, and with the pieces of five other composers—all recent pieces! What advice can you give to flutists about approaching new music in practice? Advice to flutist when approaching new music: don't be afraid to play around and try new sounds and timbres, even if they are not what we traditionally think of as 'pretty' sounds. As a composer I love all the colors the flute can produce! More About Cherise… Born in Florida, Cherise Leiter received a B. M. in Music Theory and an M. M. in Composition from the University of Florida where she studied with Dr. Budd Udell. She is currently Professor of Music at Metropolitan State University of Denver, teaching music theory and composition. A composer whose output includes works for choir, piano, voice, band, orchestra and assorted chamber ensembles; her compositions have been performed throughout the United States, Canada, Scotland, France, Italy, Romania, and Japan. She was a featured composer at the New Music Symposium, the University of Central Missouri’s New Music Festival, the Aspen Composer’s Conference, the Women Composers Festival, the Atlantic Center for the Arts, June in Buffalo, and Brush Creek Foundation for the Arts. In her spare time, Ms. Leiter is an avid knitter, hiker, swimmer, cook, and bibliophile. She also has a vested interest in anything made of chocolate. She can be reached at [email protected], or www.cherisedleiter.com. If you liked The Life in a Day… American Folk Suite Instrumentation: flute and soprano Duration: 11’ Chroma Instrumentation: flute/alto flute and cello Duration: 9’ Chromaticity Instrumentation: flute/alto flute, clarinet and bassoon Duration: 9’ Penitence and Praise Instrumentation: flute and fixed electronics Duration: 9’ Prelude and Fugue Instrumentation: flute choir Duration: 7’15” Sacred Harmony Instrumentation: flute choir The Life in a Day Instrumentation: flute, guitar, cello Duration: 18’ Vignettes Instrumentation: flute and alto flute Duration: 6’ Get to Know...Julie Barwick Flutists love a good duet! We can always find a friend to play with and they’re great to program on guest artist programs with the hosting teacher as well as for flute fairs/conventions, and of course, to use with our students to help them improve as chamber musicians. Julie Barwick has introduced us to another great option this year with Conversations for two flutes (flute two doubles on alto flute). Conversations was a finalist work in the flute duo category. You can listen to a great recording on Julie's SoundCloud page. Julie has several other works for flutes, including a recently completed flute trio, Personal Space, commissioned by Areon Flutes.
We were also excited to see that Julie is an advocate for women in the creative arts through her Helia Arts Collective. As an organization run by women, we’re always super excited to see women advocating for the arts and female composers. Julie is joining a fantastic group of female composers who have found success in our completely blind competition. Of the 13 winning compositions, five were written by women and eight of twenty-seven winning and honorable mention works were composed by women. Overall of the forty-six composers who have been selected as finalists, honorable mentions or winners roughly a quarter (11/46) are women and two of them were finalists in multiple years! Of the total pieces honored, 14 out of 56 (an exact quarter) are by women! We’ve loved seeing that the blind process has resulted men and women, young and old(er) (18-72), from all over the US and fifteen countries being honored for their work. We love that your background is irrelevant in our competition, your music speaks for itself! Q&A with Julie… What about new music for the flute appeals to you? As a composer, I find the extreme versatility and agility of the flute very exciting. The wealth of sounds that can be created with just a solo flute is astounding. In my experience, I also find flutists to be some of the most dedicated and open-minded musicians, especially when it comes to creating new music. I wrote Conversations for Siroko Duo (Jessie Nucho and Victoria Hauk) and not only are they both amazing flutists, open to nearly anything, but they are also strong champions of commissioning and performing new music. Who are your favorite “new music” composer/s and why? The list of my favorite new music composers is impossibly long, but I do want to highlight the Common Sense Composers Collective, and especially the composers Belinda Reynolds, Dan Becker, and Marc Mellits. They have inspired me through their teaching (I have both studied with Becker and Reynolds), their collective philosophy that emphasizes collaboration, and of course their music. Describe your current activities. Currently, I am focused on two main projects. The first is I am the 2017-18 Composer-in-Residence for Elevate Ensemble, a San Francisco Bay Area new music ensemble. I have two commissions from them, and currently working on the second, a chamber symphony. I am also a recent co-founder of Helia Music Collective. I formed Helia Music Collective with fellow composer, Emma Logan, as way for us to support the creative endeavors of women in music. Earlier this year we had our first concert/collaboration with Siroko Duo that featured all new music written by women. We are currently planning our next project for 2018. Do you have any upcoming events that you would like our friends and followers to know about? As mentioned above, as part of my residency with Elevate Ensemble, I'm working on a commission for chamber symphony (including one flute!), to be paired with Schoenberg's pivotal Chamber Symphony. The concert will be at SOMArts in San Francisco, May 19. Details about the concert can be found here: https://elevateensemble.com/events/transformations/ More About Julie… Julie Barwick (b. 1983), is a composer and pianist originally from Southern California and now based in San Francisco. Drawing inspiration from her classical and jazz background, she not only enjoys writing for traditional chamber music ensembles, but also non-traditional ensembles as well as experimental jazz groups. Her music has been performed throughout the Bay Area and US, and was recently selected to be on the Verdant Vibes Benefit Concert in Rhode Island in February 2017. As a winner of the 2016 Areon International Composition Competition, she was commissioned to write her piece, Personal Space, for Areon Flutes. Julie is currently Elevate Ensemble’s 2017-18 Composer-in-Residence, and will be writing two new pieces for Elevate this season. Other recent projects include commissions from San Francisco Guitar Quartet, Siroko Duo, Jill Morgan Brenner, Carla Fabris, Andronica Trio, Hot Air Music Festival, and Ignition Duo through the Guerrilla Composers Guild. Julie received her B.A. in music from the University of California, Berkeley and her M.M. in music composition from the San Francisco Conservatory of Music. She has studied with composers Belinda Reynolds, Dan Becker, David Garner, Cindy Cox, and Henry Threadgill. Please visit her website at juliebarwick.com to learn more. If you liked Conversations… Flute only
Chamber, with flute
Interview with Robert Denham
A CONVERSATION WITH ROBERT DENHAM
2016 Composition Competition Winner On the Departure of a Loved One for Flute and Piano Interview by Pyero Talone Transcript Below:
Pyero: Can we start by you telling us a little about yourself?
Robert: Certainly. I’m a native of the San Francisco Bay Area of California. I grew up there and probably spent 20 years of my life there. I then came down here and attended Biola University as a trumpet performance major, so that’s my background, instrumentally. While I was working on my trumpet performance degree and freelancing in the Los Angeles area, I became interested in composition and entered a few contests that were within the school. I placed in those contests and became very excited about composition, so that caused me to start thinking of going into composition as a profession. A lot of my friends were pushing me towards that, so I went ahead and explored that. I did my MA in composition at UCLA and then went on to the University of Cincinnati College Conservatory of music for my doctorate in composition. At that point, I had taught at a few universities, but then went on to teach full time at West Texas A&M for just a year, at which time I moved on to Biola University. This is my tenth-year teaching at Biola, serving as the area coordinator for theory and composition. It’s a department of about 30 composition majors, so it’s a thriving department. We’re really excited about what we have here. Pyero: I really loved On the Departure of a Loved One and I know that it comes from a concerto you wrote, right? Can you tell us about your inspirations behind it and your compositional process? Robert: Certainly. Well, the background of the piece – I was asked by a friend of mine, Brian Bensing, who was the person I dedicated this to. He asked me to write this concerto so he could play it with the Cambrian Symphony. He’s part of that symphony up in San José. And I was short on time but had to produce something for a particular concert, so I thought, why not kill two birds with one stone: I’ll write the middle movement of the concerto and go ahead and write it just for piano and flute. Because it was the second movement, it didn’t take me so much time to write. The faster movements, because they have more notes, take a longer time to write and format. So that’s why I started with the second movement. I love the second movements of the Barber Concertos. Samuel Barber wrote several concertos: a piano concerto, a cello concerto, a violin concerto. That middle movement right there seems to be an opportunity for him to express things that are more intimate and more close to his heart: sorrow, grief- things that are more personal, I think. Because, of course, the first movement of a concerto is bringing the audience in, it’s not bringing up anything terribly controversial or terribly emotional. But that inner movement, framed as it is against the outer movements, is an opportunity to do that. So I think that all of us have at some point in our lives, if we’ve lived long enough, lost loved ones. And for me, my father died about six years ago. At the time that I wrote this, it was more like four years, so that was kind of a thought that was lingering as I was processing. Pyero: So going back to you as a composer, who has most inspired you as a composer? Robert: Well, I would say that if I was stuck on a desert island and had one composer to listen to, and only one, I’d have to say that would be JS Bach. But I wouldn’t say he’s my favorite composer. My favorite composer is Benjamin Britten. I really love his opera Peter Grimes, Billy Budd, and so forth, the work that he’s done with the voice. He worked with Peter Pears on things like serenade and nocturnes. I just really love that style. I feel as though his music speaks on a variety of levels. People who don’t have a lot of experience with new music, they can appreciate his music, but also people who do have a lot of experience listening to new music because there are a lot of interesting textures, there’s depth, there’s a profound nature to what he does that makes it intriguing even to a doctoral theorist, if you will. If they dig, they’ll find some interest there. So that’s very inspiring to me. I wouldn’t count him on my desert island because I’d be afraid of getting bored of listening to the same composer over and over again. If I had to do that, it would be Bach. But the person who’s music I admire the most, I think it would have to be him. Of course there are others: Stravinsky is a favorite; I really admire the music of Ravel – I think his music is phenomenal. More recently, I’m attracted to the minimalist school with John Adams and so forth. I think that he’s got quite a bit of color in his music. I also think that, as a minimalist (or post minimalist), his music has evolved so much more over his lifetime than some of the other minimalist composers. Philip Glass, for example, has stayed relatively close to where he was, whereas John Adams as morphed throughout his career. Pyero: So since you’ve mentioned Bach, could you tell us about SDG? Robert: JS Bach would often times put that at the bottom of his music and it stood for Soli Deo Gloria: to God alone be the glory. Bach was very spiritual. He was very mindful of the fact that God had given him his talents. Bach was not great just because he was great. These gifts had been given to him. I think he was trying to draw more attention to God than to Bach, himself, the person. And so I put that down on the bottom of my music, not to slap anyone in the face with it, but to remind myself as much as anything that this is not mine, this is something that I believe that the Lord has given. It’s not something for me to hold in anybody’s face and say “look what I did” because, honestly, as a composer, when you’re looking at a blank piece of staff paper and there’s nothing on it, there’s a feeling of terror that fills your heart and you say, “I’m not sure what I’m going to write.” And I know I have to write something. When people ask me how I compose, my honest answer is that I’m not really sure. I’m not really sure how those notes get on there. I always start my composition process with prayer. Different people have their different methods, I understand, but that’s just my way of dedicating it to God. Pyero: What do you like and what do you find challenging about writing for flute? Robert: Well, in terms of flute music, I’ve written several pieces that either feature the flute as a solo instrument or heavily involve the flute. Cindy with Pacific Symphony (I worked with the Pacific Symphony on a project) encouraged me – she said “hey, you write really well for the flute, you should write a concerto,” so partially, this concerto comes out of that, and her encouragement, as well. I’ve found that if I try to write something that I think a flute or flutist cannot play, that they always prove me wrong. It’s almost as though flutists can play anything. Now, I know that, of course, there’s a limit to how many notes you can fit within a certain beat, and yet, it’s such an acrobatic instrument that, if you know how to notate septuplets and nonuplets and things like that, (like, once again, Ravel did so well), if you are able to notate that, you can really express yourself with a lot of decoration. The ornaments you can achieve, the frills that you can put on the music, it’s just wonderful to be able to dance like that. I think, of course, that in certain parts of the register, you really have to watch for the balance and be careful of the other instruments involved, particularly with a full orchestra – not overpowering the instrument. That’s something that the flute concerto for orchestra has been performed just once, and that’s something that I’m watching for in each subsequent performance. Watching the balance and, is it the orchestra that needs to fix things, or is it me, the composer that needs to fix things – to thin it out a little bit, or it could possibly be both. Pyero: Can you tell us about other pieces you’ve written for flute? Robert: One of the first mature works that I wrote was for solo flute and it’s called Two Soliloquies and it’s two monologues, if you will, for solo flute. The flute concerto is in three movements, and that’s available in piano reduction, the entire things is. Then other pieces that involved the flute include an oratorio called Under the Shadow and it features the flute and piccolo quite a bit- there are a lot of decorative patterns that are floating around on top of it. Then a lot of chamber pieces and a lot of wind ensemble pieces, and of course the flute plays an important part there, but as far as solo, just the Two Soliloquies for solo flute and then this concerto are the only pieces that feature the flute for the entire time. Oh, and there’s actually a piece for alto flute called the Lament of Aeneas. And that’s got an interesting story behind it because of course everyone’s heard of Purcell’s Didot and Aeneas and Didot’s Lament. This is kind of Aeneas’ response to that – he gets to have a lament as well. But this is for alto flute and is available for piano and alto flute or orchestra and alto flute. Pyero: So can you tell us your website and other ways to contact you? Robert: Sure, my website is robertdenham.com and the best way to get in contact with me is email. That’s on the website as well, but it’s [email protected]. Lament of Aeneas is published by Falls House Press, for both the piano reduction version and the orchestra version. I’ve published the flute concerto through my own company, and that’s Hog Island Press. So if anyone’s interested in getting copies of that, both the piano reduction and full orchestra, they should contact me directly. Get to Know...John Allemeier The vast array of instrumentation possibilities means that the chamber music category often yields really interesting works with great colors. This is definitely the case with John Allemeier’s Bolamkin for alto flute, vibraphone, and piano. Plus, we love the alto flute! John has composed a fantastic array of chamber works including the flute with really cool combinations and colors. You can hear recordings of many of them on his SoundCloud page and website.
Q&A with John… What about new music for the flute appeals to you? As a composer, I am drawn to the flute because of its versatility and agility. The flute has virtuosic technical ability combined with boundless potential for lyricism. Describe your musical background and current activities. While I was trained as a composer for concert music, a major component of my creative work for the last few years has been writing music for modern dance. Writing music for stage performances has fundamentally changed how I compose for the concert hall. Throughout my career, some of my best performers were flutists and my success writing for flute is due to their patience and willingness to work with me. Do you have any upcoming events that you would like our friends and followers to know about? ASSEM3BLY (featuring the amazing Lindsey Goodman) just released a CD on Albany Records that features my composition Bolamkin (for alto flute, vibraphone, and piano). This recording features some incredible performances and great chamber music with flute. What advice can you give to flutists about approaching new music in practice? Be patient with the composers and fearless with their music. More About John… John Allemeier’s music has been described as having a “sweet sense of mystery” by Fanfare and as being “rapturous” by the American Record Guide. His music has been performed by Ethel, Loadbang, Boston New Music Initiative, Charleston Symphony, ASSEM3LY, Beo Quartet, Due East, Duo XXI, Kassia Ensemble, Low and Lower, Madison Park String Quartet, Terminus Ensemble, and on venues such as the Charlotte New Music Festival, TUTTI New Music Festival, the International Double Reed Society, International Clarinet Society Conference, International Society of Bassist Convention, Piccolo Spoleto, the 5th Annual Festival of Contemporary Music in San Francisco, and the Spark Festival in Minneapolis. He received his Ph.D. in Composition from the University of Iowa, his MM in Composition from Northwestern University, and his BM in Performance from Augustana College. He is currently Professor of Composition and Music Theory at the University of North Carolina at Charlotte. More information is available at www.johnallemeier.com. If you liked Bolamkin… Deep Water for flute, oboe, clarinet, bassoon, horn, timpani, and piano Pieces of Silver for flute, clarinet, violin, cello and percussion Santana Mix for flute, cello, double bass, and percussion Solstice for flute, sax, violin, cello, and double bass Songs of Earth and Sky for flute, ceramic pots, and berimbau Those Voices flute, bass clarinet, violin, viola, and cello Get to Know...Greg Steinke  Oregon-based composer Greg Steinke has twice been a finalist in the FNMC Composition Contest. In 2014 for his flute duo Van Gogh Vignettes and in 2015 for his flute quartet In Memoriam: Sacagawea. FNMC members have performed his compositions at the Florida Flute Fair and Kentucky Flute Society Conventions.
Q&A with Greg... Describe your musical background and current activities. I am a longtime composer/oboist/conductor who is still actively composing and occasionally performing on oboe and conducting. What flutes, brands, and accessories (if any) do you like to perform new music on? I prefer hearing my flute pieces performed on a Powell flute - it has always been my favorite. When did you join FNMC and what attracted you to the organization? Became a FNMC composer a couple of years ago - wanted to avail myself of performance opportunities for my flute compositions. More About Greg… Dr. Greg A Steinke is retired, former Joseph Naumes Endowed Chair of Music/Art and Associate Dean of Undergraduate Studies, Marylhurst University, Marylhurst, Oregon; Associate Director, Ernest Bloch Music Festival (‘93–97) and Director, Composers Symposium (‘90–97) (Newport, OR); served as the National Chairman of the Society of Composers, Inc. (1988–97). Composer of chamber and symphonic music and author with published/recorded works and performances across the U. S. and internationally; speaker on interdisciplinary arts, and oboist specializing in contemporary music. Dr. Steinke is the current national president of NACUSA and also serves on the NACUSA Cascadia Chapter Board. Learn more at www.gregsteinke.com If you liked In Memoriam: Sacagawea and/or Van Gogh Vignettes... CROSS CURRENTS, (for Reciter and Chamber Ensemble (Flute/Native Flute, Violin, Trombone, Contrabass and Piano); 2004 ECHO POINT LOOKOUT An Australian Blue Mountain Triptych (Image Music XXXIX) (for Reciter, Flute/Alto Flute, Oboe d’Amore, Contrabass and Piano); 2013 EXPRESSIONS IV Fantasy on a Painting of Edvard Munch (Image Music XXXV) for Oboe, Violin, Violoncello, and Piano (also version for Flute, trumpet, Violoncello, and Piano) 2012 IMAGE MUSIC from Songs of the Fire Circles for Flute, Oboe, Trombone, and Contrabass, 1982 INQUIETUDE for Flute Solo, 1995 A JAPANESE FOLK SUITE, (for Reciter and Flute/Alto Flute or Oboe); 1992, rev. 2001 EIN JAPANISCHES LIEDERBUCH for Soprano, Chamber Ensemble (flute, violin, cello, harp, piano/celesta, percussion) and slides, 1971 “LET US TAKE WHAT WE CAN FOR THE OCCASION,” (for Reciter, Flute/Piccolo, Contrabass and Piano); 2002 LYRIC FANTASY (A Music for Dance) for Flute, Alto Saxophone, and Guitar, 1980 Moments at CANYON DE CHELLY (Image Music XXVI) for Flute and Oboe Duet, 2005 Moments from WHITE BLOWING DAFODIL SEEDS (Image Music X-A) for Piano Trio, 2000, +o PUB; also versions for Flute,Violoncello and Piano, 2003 PUB, for Flute, Bassoon and Piano, 2004 PUB, and for Trumpet, Violoncello and Piano,2004 NORTHWEST SKETCHES II for Flute, Oboe, and Piano, 1980 NORTHWEST SKETCHES II-A for Flute, Oboe, and Wind Ensemble, 1982 NORTHWEST SKETCHES II-B for Flute, Oboe, and Chamber Orchestra, 1982 ONE BY ONE (Image Music II) for Flute and Harp, 1985 RANDOM BLACKOUTS III (Image Music XL) for Baritone, Flute, and 2 Percussion 2015 THREE SONNETS from William Shakespeare for Soprano, Flute, and Strings, 1962-64 TIP TOP TAP BALLROOM BONANZA for Alto Saxophone and Contrabass (also versions for flute, clarinet or soprano saxophone in B-flat and contrabass); 2014 TO GET TO FRESNO, (for Voice, Clarinet [or Flute] and Piano); 2004 TOMORROW ON YESTERDAY (Image Music IV) for Harp, 1989, @ (Carroll McLaughlin) + o PUB; as (Image Music IV-A) for Flute, Harp, Percussion, Harp Ensemble, and Trombone Ensemble, 1989 WIND RIVER COUNTRY for Woodwind Quintet, 1986 YAPONCHA - “Wind Spirit” (Image Music XX) for Flute, Viola and Harp, 2002 7 - 4 - 3 for Dancers and Chamber Ensemble (flute, cello, percussion), 1969 Get to Know....João Pedro Oliveria  Flutists obliviously enjoy João’s works; he has been our most frequent finalist! Three of his compositions have been finalists in the FNMC Composition Contest; A Escada Estreita for alto flute and electronics (or alto and bass flute and electronics) and Entre O Ar E A Perfeio, for flute, piano, and electronics in 2014 and Burning Silver for flute, guitar, and electronics was a finalist in the chamber music category in 2015. João is currently composing a flute concerto; we’re looking forward to hearing it!
Q&A with João… What about New music for the flute appeals to you? Flute is one of the most versatile and interesting instruments. It has an amazing richness of colors, timbres, and special effects. Composing for flute becomes almost like an adventure in an unexplored land, trying to find new landscapes, colors, and sound images. Who is your favorite “new music” composer and why? I have a great admiration for the music of Jonathan Harvey. His spirituality and inner self reflects in a very direct way in the music he composed. The treatment of timbres, the orchestration, and the work with electronics is one of the most successful in contemporary music. What are your favorite “new music” pieces and why? There are several. For example, Dhomont’s Le Trevail du Rêve is masterpiece of acousmatic music. Lachenmann’s Fassade has an amazing treatment of the timbre possibilities of the orchestra. Elliot Carter’s Symphonia Sum Fluxae Praetium Spei has an intensity of gestures and phrase relations that transmits a special energy to the listener. Describe your musical background and activities. Background in architecture and organ performance. Presently I am interested in the relation between sound and images, working on pieces with video or videomapping in instruments. For example: https://www.youtube.com/watch?v=tyuxBjw7C74 Do you have any upcoming events that you would like our friends and followers to know about? I am preparing the composition of a flute concerto. More about João… João Pedro Oliveira studied organ performance, composition and architecture in Lisbon. He completed a PhD in Composition at Stony Brook University. His music includes one chamber opera, several orchestral composition, a Requiem, 3 string quartets, chamber music, solo instrumental music, electroacoustic music and experimental video. He has received over 40 international prizes for his compositions, including the prestigious Bourges Magisterium Prize, the Giga-Hertz Award, 1st Prize in Metamorphoses competition, 1st Prize in Musica Nova competition, etc.. He is Professor at Federal University of Minas Gerais (Brazil) and Aveiro University (Portugal). He published several articles in journals, and has written a book about analysis and 20th century music theory. www.jpoliveira.com João’s Additional Works for Flute… Etude for Five Instruments Instrumentation: flute, clarinet, piano, cello, percussion Year: 1984 Duration: 12’ Le Chant de L’Oyseau-Lyre Instrumentation: flute, oboe, clarinet, piano, percussion, violin, cello Year: 2002 Duration: 11’ Prisma Instrumentation: Flute, accordian, piano percussion Year: 2008 Duration: 9’ …there are those who say that life is an illusion… Instrumentation: flute, oboe, trumpet, percussion, violin, cello, electronics Year: 1999 Duration:10’ Timshel Instrumentation: flute, clarinet, violin, cello, piano, electronics Year: 2007 Duration: 15’ Towdah Instrumentation: flute, bass clarinet, piano, percussion, electronics Year: 2009 Duration: 13’ Get to Know...Cherise Leiter This week, we feature composer Cherise Leiter. Her piece Chroma for flute/alto flute and cello, which is based on the colors of Colorado- her current home, was a finalist work in the 2014 FNMC Composition Contest.
Q&A with Cherise…. What about new music for the flute appeals to you? The flute is such a versatile instrument, and strongly appeals to me as a composer. The range of timbre, dynamic possibilities, flexibility, and colors are so unique. Composers are now asking performers to explore all of the ideas, and I find that very exciting. Describe your musical background and current activities. Primarily a pianist, I play just enough flute to be dangerous! In 2001, I met Dr. Michelle Stanley, a fantastic flutist, who took a liking to my music, and that began my interest in composing pieces featuring the flute, usually in a chamber setting. I have paired the flute with soprano, cello, viola, and cello, guitar and cello, and clarinet and bassoon, and am currently working on a piece for flute and fixed electronics along the lines of Steve Reich’s Electronic Counterpoint. What advice can you give to flutists about approaching new music in practice? As a composer, I really enjoy working with flutists who are not afraid to experiment and try different things. If I ask for a certain effect, and the flutist has ideas for a different way to achieve that from what I know, I love it when she/he is willing to share those ideas. I would also advise plenty of ‘play’ time when practicing: how many different sounds can you create? Can you find sounds that you didn’t know were possible? You never know when a composer who plays just enough flute to be dangerous is going to ask for just that effect! More About Cherise…. Born in Florida, Cherise Leiter received a B. M. in Music Theory and an M. M. in Composition from the University of Florida where she studied with Dr. Budd Udell. She is currently an Associate Professor at Metropolitan State University of Denver, teaching music theory and composition. An active composer whose output includes works for choir, piano, voice, band, orchestra and chamber ensembles; her compositions have been performed throughout the United States, Canada, Scotland, France, Italy, Romania, and Japan. She was a featured composer at the New Music Symposium, the University of Central Missouri’s New Music Festival, the Aspen Composer’s Conference, the Women Composers Festival, the Atlantic Center for the Arts, June in Buffalo, and Brush Creek Foundation for the Arts. In her spare time, Ms. Leiter is an avid knitter, hiker, swimmer, cook, and bibliophile. She also has a vested interest in anything made of chocolate. She can be reached at [email protected], or www.cherisedleiter.com. If you enjoyed Chroma, check out these other works for flute… American Folk Suite Instrumentation: soprano and flute Duration: 11’ Chromacity Instrumentation: flute/alto flute, clarinet, bassoon Duration: 9’ The Life in a Day Instrumentation: flute/alto flute, guitar, cello Duration: 18’ Trio No. 1 “Frog” Instrumentation: flute, violin, cello Duration: 17’20” Get to Know...Paul Salerni  This weekend, I had the pleasure of listening to a delightful CD of Paul Salerni’s chamber music entitled “Touched.” His works are charming and the performances (by the groups who commissioned the works) are lovely. If you're a NFA member, I recommend you take advantage of the Naxos subscription and check it out!
His newest work featuring the flute, U-Turn for woodwind quintet, was premiered March 6, 2016 by the East Winds wind quintet at Lehigh University where he is a Professor of Music. Salerni teaches theory and composition, and conducts the Lehigh University Very Modern Ensemble (LUVME). Paul was a finalist in 2014 for Bad Pets for Baritone, alto flute, and guitar. Q&A with Paul…. Do you have any upcoming events that you would like our friends and followers to know about? A performance of two movements of my woodwind quintet entitled "U-Turn" will be given by the East Winds quintet at the International Flute Convention on August 13 in San Diego. (Saturday at 2:30) What pieces do you have with prominent flute parts and where can we find recordings: I would suggest the following pieces that appear on my Albany CD entitled "Touched." 1) Turns, flute, guitar, and string quartet (you can hear a movement of this piece on YouTube: https://www.youtube.com/watch?v=8_vEc1RPaew 2) Two Partita, flute and guitar (you can hear a movement of this piece on YouTube): https://www.youtube.com/watch?v=bmU-p_jL964 3) Bad Pets, baritone, alto flute and guitar. Bad Pets is one of my most popular pieces and there is an alternative version for mezzo soprano, alto flute, and guitar. If you'd like to see a charming performance of this piece please visit the following video on YouTube: https://youtu.be/NK5WmycKAEY Where can performance materials for your pieces be obtained? Contact me directly at [email protected]. More About Paul…. Paul Salerni’s music “pulses with life, witty musical ideas and instrumental color” (The Philadelphia Inquirer), and has been described by the New York Times as “impressive” and “playful.” His one-act opera Tony Caruso’s Final Broadcast won the National Opera Association’s Chamber Opera competition in 2007, and a definitive recording of the opera was released on Naxos in 2010. His second one-act, The Life and Love of Joe Coogan, an adaptation of a Dick Van Dyke TV Show episode, had its premiere in September 2010. Both one-acts are published by Theodore Presser. Salerni’s latest large-scale project was a ballet (FABLES) commissioned and premiered by RIOULT New York. Other recent commissions include Philadelphia Brass, Gabriel Chamber Ensemble, Cape Symphony, San Diego Chamber Orchestra, New Haven Symphony, Emory Chamber Music Society of Atlanta, and SATORI. ACD of Salerni’s chamber music (“Touched) was released by Albany Records in January 2015. Salerni is the NEH Distinguished Chair in the Humanities and Professor of Music at Lehigh University. He received his Ph.D. in composition from Harvard University, where he studied with Earl Kim. Salerni has performed and lectured about Kim’s music in Korea, at the Kennedy Center, the 92nd St. Y, and the Aspen Music Festival. A dedicated educator, Salerni was the recipient of the Stabler Award, Lehigh University’s most valued acknowledgement of excellence in teaching. He served for seven years on the Board of Directors of the Suzuki Association of the Americas, including two years as its Chair. For more about Paul, visit his website www.paulsalerni.com Salerni’s Other Works for Flute Chamber Works Toddler Riffs Instrumentation: flute, violin, cello Commission: Animè Year: 1990 Duration: 20 minutes Turns Instrumentation: flute, guitar, and string quartet Commission: SATORI Year: 2006 Duration: 13 minutes Two Partita Instrumentation: flute and guitar Commission: Two-Part Invention Year: 2008 Duration: 10 minutes U-Turn Instrumentation: wind quintet Year: 2016 Witches and Rappings Instrumentation: flute, clarinet, violin & piano Commission: SATORI Year: 2010 Duration: 10 minutes Song Cycles Bad Pets (song cycle on poems by Doty, Frost, and Gioia) Instrumentation: for baritone, alto flute, and guitar (also version for soprano, alto flute, and guitar) Commission: Two-Part Invention Year: 2007 Duration: 10 minutes Family Letters (song cycle on a poem by Dana Gioia) Instrumentation: mezzo, flute, clarinet in A, violin, and violoncello Commission: the family of Eileen Wavrek Wescoe Year: 2015 Duration: 10 minutes Sad Stories (song cycle on poems found in the New Yorker) Instrumentation: mezzo-soprano, alto flute, mallet percussion, violin, cello Year: 1991 Duration: 13 minutes Speaking of Love (song cycle on poems by Dana Gioia) Instrumentation: soprano, viola, piano/mallet percussion (also version for soprano, flute, and guitar) Year:1993 Duration: 10 minutes |
AuthorThe Flute New Music Consortium is an organization dedicated to the creation and support of new music for the flute. Archives
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