![]() She holds a diploma in piano performance (VCC), a BMus with a major in composition (UBC), and is currently completing her master’s degree in music composition at UBC.Ī proud dual Canadian-American citizen born and raised in San Jose, California, Ben Ledochowski has been composing contemporary classical music since age 14. She has collaborated with Redshift Music Society, Hard Rubber Orchestra, West Coast Orchestra, and Plastic Acid Orchestra. Her compositions have been performed at the ISCM World New Music Days, the VSO New Music Festival, the Vancouver International Jazz Festival, and the Invermere Waterfront Festival. Mennie is an emerging composer whose creative explorations include sound sculpting, percussion, piano, vocals, fire dancing, and music education. Rumination and urgency contrast with laid back rhythm and melody as an acceptance of what is, as is. There is an ironic humor to the piece’s rabbit holes: harmonies and melodies wander, yet always return to a familiar groove. View the performance here.Īfter a tough year, the mind seems to ruminate more than usual: What could have been done better? What steps did we miss? What opportunities? This piece translates the familiar rhythmic anxiousness of these repeated questions into lush, brass jazz harmonies packed in tasty rhythmic pockets. Commissioned by the Chan Centre for the Performing Arts. Performed by Thunderbird Brass – Matheus Moraes, Candice Newberry, Ray Wu, Andrea Norman, Takumi Hayashi. ![]() His compositions have been performed throughout Europe and North America. Walker holds a BA in music composition from Shepherd University in West Virginia and an MMus in composition from UBC where he is currently pursuing doctoral studies. Walker Williams is an eclectic composer from rural West Virginia, whose compositional style runs the gamut from conservative tonality to avant-garde performance art. Just as the choral reaches a final cadence, the opening material sweeps back in and brings the fanfare to a close. The middle section opens into a lush chorale-like setting which brings the melody into clear focus. A series of chords built on rising fourths eventually reveal themselves to be an expanded and elaborated version of the anthem. The piece opens in an excited mix of time signatures. Guided by the title of the show for which this fanfare was written, Walker uses the civil rights anthem ‘We Shall Overcome’ as the primary source material for his composition.
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