Gradual Erasures for violin and piano (2016) – Adam Scime
Extasis for violin & piano (2012) – Alice Ping Yee Ho
Alice Ping Yee Ho is an award winning Canadian Chinese composer acclaimed for her “distinctive voice” and “organic flow of imagination”. AH
Cherry Beach for violin, piano & field recordings (2016) – Brian Harman
Coming To for violin & piano (2011) – Christos Hatzis
cute, meaningless for violin & piano* (2017) – Lesley Hinger
kyüt: childish, youthful, delicate; obviously straining for effect (M-W); clever or cunning, especially in a self-seeking or superficial way (OED)
This piece explores an ethereal (vapid) and fragile (weak) aesthetic, but like, definitely keeps in mind that order to be taken seriously, one mustn’t be too cute.
The title also draws from visual artist Scott Reader’s “Alternative Titles for Recent Exhibitions I’ve Seen” (2016, pastel on canvas). – LH
Adagio for violin & piano (1996) – Heather Schmidt
Heather Schmidt’s career spans performances, broadcasts, commissions and awards in Canada, the United States, Russia, France, Germany, Switzerland, Poland, the Czech Republic, England, Cyprus, Mexico, Brazil, and the British West Indies. – HS
Danza from Tre Pezzi per Violino e Pianoforte (1997) Maria Molinari
Inspired by the works of Prokofiev and Stravinsky, Danza is the first movement of Maria Molinari’s Tre Pezzi per Violino e Pianoforte. Premiered in 2003 by acclaimed violinist Moshe Hammer and pianist Mark Widner, this is the work’s first commercial recording.
Active as a composer for the concert stage, dance and film, Maria’s concert works have been premiered by symphony orchestras, chamber ensembles and ballet companies while her film work has screened internationally and has been featured in award winning films at celebrated festivals including New York’s Tribeca Film Festival. Maria is a graduate of the University of Toronto where she studied composition with Dr. Alexander Rapoport as well as the University of Southern California where she studied film scoring with iconic film composers Elmer Bernstein, Leonard Rosenman and David Raksin. – MM
Fragments (2002, rev. 2005) – Derek Johnson
I. Motto I. Star Music
II. Motto II. A song of sorts
III. Motto III. Blues for Anton
IV. Motto IV. Fantasy
V. Motto V. Liquidation
Fragments by Derek Johnson (b. 1974) brings together a series of short character pieces originally intended for other projects. The 1st and 3rd pieces (Star Music and Blues for Anton) were first envisioned as solo piano pieces, while the 2nd and 4th pieces (A song of sorts and Fantasy) were written respectively for soprano and violin (to a poem by William Carlos Williams) and mixed quartet (clarinet, violin, cello and piano). In re-imagining these pieces for violin and piano I had the unique opportunity to edit, re-arrange and re-compose them knowing from the start what my “raw-footage” was. As a result, I approached the project from a rather “cinematic” point of view. I’m continually fascinated by the visceral and cognitive power of film, and am eager to incorporate the techniques used in that medium (foreshadowing, use of perspective, various methods of editing) to tie together (and sometimes to un-tie) the unified and disparate elements in my own composition. Thus, my truncated little character pieces have become the protagonists in a “short film” (of sorts) without picture, played-out by two instrumentalists on the stage and cut together using a reoccurring and evolving motto in the form of the opening piano gesture and sonority. Below is a “shot-list” with thoughts and descriptions of the pieces to help the audience both gain and loose their bearings in the cognitive and viscerally charged act of listening.
Motto I 1. Star Music – How it thinks to look at the stars, interrupted by how it feels.
Motto II 2. A song of sorts (w/o words) – the hidden text revealed: Let snake wait, under his weed, and the writing be of words. Slow, and quick, sharp to strike, quite to wake. Sleepless. (William Carlos Williams)
Motto III 3. Blues for Anton – A nocturnal ostinato underneath wide “Webern-ian” intervals. A blues for one of my favorite stargazers.
Motto IV 4. Fantasy – A slow opening unfolds a harmonic background that is later repeated with fast music superimposed above it. Though the tempo changes and the content is elaborated, the slow harmonic background, or frame, retains its original speed and proportion.
Motto V: liquidation
$25 adults/$18 students/seniors