Composition Concert 2018

May 1st 2018, 7:30pm

D.B. Clarke Theater

Concordia-Logo-Faculty-FA-ALT-Music-cmyk

Classes of Georges Dimitrov and Sandeep Bhagwati.

Ourielle Auvé

Two (7″)

Ourielle Auvé, cello
Juan Sebastian Delgado, cello

Neusha Taherian   

The Witch’s Prophecy (3″30)

Daniel Rom, tin whistle
Japheth Sullivan, violin
Ben Delaney, viola
Corey Thomas, double bass
Asli Yumustutan, harp
Stratsimir Dimitrov, vibraphone
Georges Dimitrov, drum

Eric Au

Text of the Future (7″)
Pamela Reimer, piano
Inspired by Iannis Xenakis, this piece aims to explore different musical textures on a piano by graphical means.

Mathias Euillet

4 Notes (3″30)
Mathias Euillet, classical guitar

Jesse Shallcross

Back to Nothing (8″)

Ben Delaney, violin
Juan Sebastian Delgado, cello
Gohar Manvelyan, piano

This piece was inspired by my fascination for the different cultural understandings of nothingness, and particularly India’s contribution of reification to the west. I attempted to blend my musical influences and understandings of nothingness, notably Hegel through my readings of Zizek, to create a piece that forces the listener to lose sense of time, while being coaxed into embracing chaos. 

As such, the piece is loosely based off the form of a Darbari Kanada Raga moving  from an Alaap to a Bandish, and including  improvisation, so common to Indian Art Music. This particular raga is asked to be played in the 3rd Prahar of the Night, the last Prahar before sunrise.

Ultimately, this is my attempt to unify what are often considered disparate elements into a coherent musical narrative.

Xander Simmons

Pink Mountain (3″30)

Kate Markle, flute
Ben Delaney, violin
Catalina Galan Vargas, classical guitar
Xander Simmons, piano

Ben Delaney

Megantic (5″)

Ben Delaney, violin
Catalina Vargas, sampler

Karine Topalian

Rondo/rondeau (2″)
Gohar Manvelyan, piano

Inspired by the baroque rondeau form and its evolution, the classical rondo, this waltz features a refrain which begins the piece, and is repeated after each verse. Characteristics of the baroque and classical meet 20th-century pitch classes, with a dodecaphonic row permutated using rotational arrays to “modulate” to closely-related “keys” at every verse. The baroque fascination with dances inspired the rhythm and meter, giving us Valse en rondo/rondeau.

Catalina Galina Vargas

Timeless (5″)

Mathias Euillet, classical guitar
Jesse Shallcross, classical guitar
Catalina Galina Vargas, sampler
Xander Simmons, electronics

Isaac Rosen-Purcell

A Piece Cut Short (5″)
Isaac Rosen-Pucell, amplified clarinet

Meghan Riley

Walnut Heart (4″)

Tahlia Stacey, voice
Sarah Daw-Girard, voice
Marie Hamilton, voice
Antoine Bensoussan, voice
Helena Dardelet, voice
Japhy Sullivan, voice
Samuel Morisson, voice
Stefanie Dimitrovas, voice
Meghan Riley, voice

Kate Markle

Imposter Syndrome (5″)

Arianna Markle, performance artist
Olivia Charlebois-Branvold, soprano
Kate Markle, soprano
Sara Rousseau, soprano
Sara Shields-Rivard, soprano
Catalina Galina Vargas, alto
Hannah Harkins, alto
Meghan Riley, alto
Antoine Bensoussan, tenor
Craig Horan, tenor
Xander Simmons, tenor
Ben Delaney, bass
Nazar Klepatskyy, bass
David Stanley Pierre, bass
Japheth Sullivan, bass

Intermission

Nicholas Ryan

Something for Jame’s Tenney’s Spectral Canon for Conlon Nancarrow (7″)
Nicholas Ryan, laptop
Two things:
 
1) This piece represents one in a series of compositional studies for MIDI instruments and notation software, which each in their own way attempt to marry elements of new music with those of popular internet culture.
 
2)  I think many of us hope our artistic voices  –  be they our literal  or figurative voices (i.e. style) –  will survive us in death the way Jame’s Tenney’s or Colon Nanacarrow’s artistic voices have outlived them.  Unfortunately though, there’s no telling what undesirable mouth pieces ( political or otherwise) our disembodied voices may come to speak for in our wake.  In this piece, Tenney’s literal voice and Nancarrow’s figurative voice are forcibly resurrected to stumble around new technologies. In this way, I think I was trying to work through the worries I have regarding my own audience ( past, present, future) –   and the fact that too often my voice seems to become distorted, or changed, before it ever even reaches their ears.

Guillaume Forbes

Jackal (4″)

Juan Sebastian Delgado, cello
Gohar Manvelyan, piano

Maedeh Sharifi

Diamonds in the Snow (3″30)

Maedeh Sharifi, voice
Kate Markle, flute
Jared Raymer, trombone
Georges Dimitrov, vibraphone
Stratsimir Dimitrov, drums

Arielle Soucy

Fake Glass / Much Buzz (3″30)
Arielle Soucy, acoustic guitar & voice

Ochuko Kpolugbo

Dream of Spring (4″)

Japheth Sulllivan, violin
Ben Delaney, viola
Juan Sebastian Delgado, cello
Corey Thomas, double bass
Xander Simmons, piano

Nazar Klepatskyy

Beacon in the Sea(5″)

Nazar Klepatskyy, electric guitar &  electric toothbrush
Kate Markle, piano

Shant Abralian

Themed Quolibet (2″30)
Gohar Manvelyan, piano

Laurie Sévigny-Couture

Human Feelings (7″)

Elisabeth Lajoie, Saxophone ténor
Gavin Goodwin, Saxophone soprano
Thomas Daudlin, Saxophone bariton

Human Feelingsis a composition divided in eight micro movements who each represent an emotion.
Desire (I), Fear (II), Instinct (III), Pain (IV), Despair (V), Care (VI), Spirit (VII) and Warmth (VIII) create an emotion chain, appearing as a rough duty and journey of understanding those feelings. The emotion chain (order of the movements) was chosen with criteria of fluidity, both musical and emotional, according to my personal experience of sentimentality. Desire (I) is Human Feelings‘ birth, and its haunting melody comes back at the end of the piece to express Warmth (VIII), a grown-up desire. 

Mehdi Rahimdokht

Fire (4″)

Mehdi Rhimdokht, electric guitar
Gohar Manvelyan, piano

Inspired by nature, this piece tries to imitate the heat and the chaos resulting from fire, using random and algorithmic compositional techniques.

Toni Bali

Spaced Out – In Real Time (12″)

Tahlia Stacey, voice
Arielle Soucy, voice
Katrina Steppan, voice
Emily Bowmile, soprano saxophone
Daniel Rom, alto saxophone
Colin Du Nord, tenor saxophone & futujara
Marcus Blues-Selman, trumpet
Toni Bali, electric guitar
Charles Colizza, electric guitar
Nicolas Lanctot, electric guitar
Easton Skara, electric guitar
Louis Julien, electric guitar
Zachary Lecker, double bass
Stratsimir Dimitrov, drums

So Spaced out in real time is an experimental composition that explores the idea of improvising free in real time. The piece focuses on the creation of dialogue between the different sections and musicians. The piece consist of mainly 2 parts the first parts is based on a graphic score sort of speaking, that indicates what performer should play what, how and where!!, the 2nd part consists of a written score for the ensemble integration elements of improvisation and latin feel. Spaced out- in real time is a piece written for a large jazz ensemble, not that of the typical. Fusing Jazz, contemporary classical and world genre elements, this piece is all about bringing out spontaneity, freedom of interaction as well as each performer unique personality.