July 5, VIPA 2017 – Concert 3: Brouwer Trio


Auditorio del Conservatorio Superior “Joaquín Rodrigo” – 19.30h. (7:30 PM)

Skeletal Figures in Birthday Hats Doing Jumps in the 30 Day Flooded River (2017)* – Lucas Ty Ranieri (USA, 1995)

Etchings (2017)* – Max C. Vinetz (USA, 1996)

att sjunka i doftande klöver (2017)* – Kristofer Svensson (Sweden, 1990)

Danzas Traviesas (2017)* – James W. “Jaimito” Parker (USA, 1992)
Tango #1 – II. Rumba – III. Tango #2 – IV. Salsa

Equilibrium (2017)* – Lu Yin (China, 1988)

Wahe Guru (2017)* – Àngela Gómez (Spain, 1991)

Freezher (2017)* – Tori C. Ovel (USA, 1992)

* world premiere

Brouwer Trio
Jenny Guerra, violin
Elena Solanes, violoncello
Carlos Apellániz, piano

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Skeletal Figures in Birthday Hats Doing Jumps in the 30 Day Flooded River (2017)* – Lucas Ty Ranieri (USA, 1995)

This piece is based on a piece of poetry I composed in January 2017. The text strings together various images of death, (re)birth, religious associations, spiritual renewal and natural forces in an abstract, sometimes seemingly meaningless ways. All the various images, such as skeletons jumping in a flooded river or death caused by bodily movements, take place within a lucid dream (“…in the 30 day flooded river whilst lucid dreaming…”). I treated the piece itself like a lucid dream where sounds emerge in their most natural state before they come under the control of an external force through the process of musical development. All of the musical material is based on Johannes Brahms’ Wiegenlied: Guten Abend, gute Nacht, Op. 49, No. 4, most commonly known as Lullaby. I chose this as the source for all musical material because of its inescapable association with sleep and dreaming. Throughout the course of the piece, all of the sounds struggle to return to their most natural state without having the sensation of being under the control of some omnipresent outer force- the universe, an omniscient presence, or the composer himself. The ending signals some sort of entrance into a new, more open space that is absent of many of the mechanisms of control employed earlier in the piece. Although the piece exists as a single movement, there are textual markers, phrases from the poem, above all the sections that comprise the whole.

I-“in a lucid dream”
II- “in the 30 day flooded river”
III-“doing jumps for Noah”
IV-“a chorus of celebration exhaling a reborn flesh”
V-“the 30 day flooded river blackens the land”
VI-“skeletal figures laugh and laugh until death from the flood of gesticulations was imminent”
VII-“be without the blackest remains left flickering”

Lucas Ranieri is currently earning a Bachelor’s of Music in Music Composition at the Boston Conservatory at Berklee and will complete his degree in the spring of 2018. Lucas has studied privately with Sheridan Seyfried at the Curtis Institute of Music from 2011-2014. At the Boston Conservatory, he has studied with Jonathan Bailey Holland, Eun Young Lee and Curtis Hughes. Lucas has composed for a variety of ensembles during his time at the Boston Conservatory, including working with the Boston Conservatory Composer’s Orchestra twice in which selected student’s pieces are rehearsed and performed over the course of one week. Lucas’ piece for solo cello …be washed, pure white. was performed in the Boston Sculptors Gallery in January 2017 and collaborated with the Boston-based duo Transient Canvas in February. In May, he completed a collaboration through the conservatory and Guerilla Opera on a multimedia micro opera, lazy citizen. Upon graduation, Lucas intends to continue working with ensembles, travel, and work on multidisciplinary projects.

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Etchings (2017)* – Max C. Vinetz (USA, 1996)

Max Vinetz explores lyricism and texture, drawing inspiration from tradition and non-vernacular. He has received recognition and awards for performance and composition from ASCAP, BMI, Donald Sinta Quartet, Tesla Quartet, KLK New Music, Yale University, the Reno Jazz Festival and the CMEA Jazz Festival. At Yale, Max won the Abraham Beekman Cox Prize awarded to the “most promising and gifted composer” in the junior class, and was also awarded the Lewis P. Curtin Fellowship, the Tristan Perloth Prize, and the R.J.R. Cohen Fellowship for Musical Performance.

Max’s works and have been performed and read by the Lemberg Sinfonietta, DeCoda, Phoenix Quartet, Albatross Duo, New York Youth Symphony, Brevard Sinfonia, Yale Undergraduate Chamber Orchestra, Icarus Duo, and the Yale Symphony Orchestra among others. Next year, Max will finish his undergraduate studies in Music at Yale, where he studies composition with Kathryn Alexander.

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att sjunka i doftande klöver (2017)*Kristofer Svensson (Sweden, 1990)

The title att sjunka i doftande klöver (to founder in fragrant clover) comes from the opening lines of Vilhelm Ekelunds (1880-1949) early poem Evening by the strait: “To founder in fragrant clover and be fanned by the evening air, to longingly gaze upon the ocean, where the sun is resting its cheek”. The evening is sealed by fire and water. In the illuminated summer night, thoughts become flowers, and flowers become scent.

Kristofer Svensson - Brouwer TrioKristofer Svensson is a composer from Stockholm, Sweden. Often in his music, simple harmonic objects are found in a fragmentary musical syntax in a textural environment characterized by noise and silence. Despite his love of ruins, he denies any metaphorical interpretation of this material, exploring only the purely abstract qualities of sound. Tuning the music in Just Intonation, a characteristic feature of all his music, focuses attention on music’s raw material, and invites a microaudial attention to its details. His use of Just Intonation is also connected to an interest in the antique, which is revealed in his many compositions for European baroque-period instruments, most often tuned to a series of Just Intonation keyboard designs called ‘Kirnberger-Svensson’ (inspired by an early temperament by Johann Philipp Kirnberger). The ‘antique’ is, however, not only limited to European traditions, and Svensson has spent extensive time studying Asian traditional musics such as the shakuhachi with Gunnar Jinmei Linder, the gǔqín with Yung-Hak Chi in Hong Kong, and Sundanese karawitan with, amongst others, Dody Satya Egagustiman in West Java. He studied composition with Mamoru Fujieda in Fukuoka, Japan. His music has been performed by soloists and groups such as Contemporaneous, ensemble mise-en, Håkon Stene, Ko Ishikawa, Musica Vitae, Mats Persson, Quatuor Bozzini and Hong Kong New Music Ensemble, the latter which premiered his piece Ir Himinn, Groenn for prepared piano in Just Intonation and specially built gamelan-modelled instruments designed with Sundanese gamelan-maker Asep ‘Dede’ Ahum in West Java.

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Danzas Traviesas (2017)* – James W. “Jaimito” Parker (USA, 1992)
Tango #1 – II. Rumba – III. Tango #2 – IV. Salsa

The thing that draws me to Latin American dance music is the rhythmic integrity, complexity, and danceability. The music of my people (Texans) has it’s own certain rhythmic “energy,” but salsa, cumbia, tango, bachata, merengue, plena, and the numerous other South American dance styles thrive on the complex rhythmic interchange between different instruments. This piece is a sort of classical-musicified version of a few of those styles: two types of Tango, Salsa, and Rumba.

The first movement is a Tango, or my attempt to teach a group of classical musicians how to play in a style that is one of the more idiosyncratic styles in South America. Next is a Rumba, a traditional Cuban dance heavily influenced by the music of West Africa and their religious traditions. The players take turns imitating different percussion instruments and the traditionally sung melody line, then come together for a break down section towards the end. The third movement is another tango, this time a much slower, more abstract version. The emphasis on the down beat and a few quintessential gestures are still there, but it sounds like the piano player is tired and just forgetting to play a few of the notes. The tango singing style that seems to float over the beats is imitated here by having all of the voices play a unison melody line, but with slight variations in each one. The last movement is an imitation of the solo section of a salsa standard, instruments trade solos and ride the groove until the exciting conclusion. Listen for the violin imitate the cowbell in the second half of the piece, you won’t believe it’s not the real thing!

As a Tango dancer and member of a Salsa band, this piece was so much fun to write and hopefully, for you, it will be fun to listen to. Enjoy!

My name is James. I’m from Austin, Texas. I write music I think sounds cool. One person who’s smarter than I am said it sounded like “Jazz in reverse, but with good voice leading.” I just finished my Master’s degree at the University of Texas, where I studied mostly with Yevgeniy Sharlat and Dan Welcher. I did my Bachelors at Ithaca College with Jorge Grossmann and Dana Wilson. I’ve received a handful of grants and awards. I’ve attended festivals/masterclasses with some really nice people, my favorites were Ken Ueno, Nils Vigeland, Aaron Jay Kernis, and Anna Clyne. I really like folk music of many nationalities, most notably Appalachian/Nordic fiddle music, Cuban son/salsa (maybe not “folk” per sé, but I like it anyways), and Argentine Tango. I also really like to cook for friends and family, go out to eat, and be outside.

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Equilibrium (2017)* – Lu Yin (China, 1988)

Equilibrium is a piece full of extreme pitches. Dramatic motion is one of the things that I am after. Clusters and irregular rhythms comprise most part of the materials. The word “Equilibrium” means a state of balance. However, balance doesn’t mean stillness or even stableness. Equilibriums in motion and equilibriums under impacts are of more interests, which is what the piece is about. There are equilibriums everywhere in the nature, in the human society, or even in a man’s mind, each taking a unique form. This piece came from a dream but can certainly be interpreted in different ways. The piece takes around seven minutes.

Lu Yin studied composition with Prof. Michael Hersch and Dr. Judah Adashi at Peabody Institute of Johns Hopkins University, and currently with Dr. Ping Chang at China Central Conservatory. Before taking composition lessons, he had a B.A. degree in Economic & Finance from the University of Hong Kong, and a M.S. degree in Statistical Science from the Cornell University. He writes for both western and Chinese instruments.

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Wahe Guru (2017)* – Àngela Gómez (Spain, 1991)

Wahe Guru is a mantra that Hindus use to initiate their prayers. The word “wahe” means “ecstasy” and “guru” is formed by two concepts: Gu is the darkness and Ru is the light, so “guru” means the step from darkness to light, from ignorance to knowledge. At the same time, guru is related to the number 11 that is the master number, which is important in the piece on several levels: structural, numerical and intervalically. In addition to number 11, there is also importance for the upward gesture as sound object that, symbolically, refers to the step from the dark to the light, which manifests timbrically different in diferrent parts of the piece.

Angela GómezÀngela Gómez Vidal is Titled Professional of Music in the specialty of piano and a Graduate in Music for the specialty of clarinet in CSM ‘Salvador Seguí’ of Castelló de la Plana. She has performed clarinet improvement classes with Eduardo Raimundo Beltrab, Enrique Pérez, Joan Enric Lluna, Santiago Pérez and Sergio Bossi, among others. In the field of composition, she has studied with Andrés Valero, Anna Cazurra and Francisco Zacarés. Her music has been performed in differents auditoriums, highlighting the Palau de les Arts Valencia, as well as festivals such as the 39th Festival de Música Contemporània Ensems and the 13th edition of Mostra Sonora. At present, she is studying composition at the CSM “Joaquín Rodrigo” of Valencia with professor Voro Garcia.

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Freezher (2017)* – Tori C. Ovel (USA, 1992)

Tori C. Ovel is pursuing her Master’s studies at Butler University in Indianapolis under the watchful eyes of Dr. Michael Schelle and Dr. Frank Felice. Her music generally involves extended tertian harmonies and she enjoys a good challenge found in writing for atypical instrumentations.
Recently her music has been performed at the Bowling Green State University Graduate Conference in Music and the SCI Region IV Conference at UNCG-Greensboro. In the spring of 2016, her micro-opera Now Boarding was selected to be performed with Fresh Ounce of Opera’s Inaugural mini opera showcase in Austin, Texas, and was also performed her alma mater.

At Butler University, Tori produced the Butler Community Arts School’s Butler Youth Composition Workshop, executed in spring 2016. Currently, she puts her skills to work as the Recruitment and Outreach Graduate Assistant and is involved with the Indianapolis-based new music ensemble Microten as the Managing Director.

A recent graduate from the University of Northern Iowa in Cedar Falls, she studied composition under Dr. Jonathan Schwabe and Dr. Alan Schmitz. Originally a saxophonist, she played lead tenor in the University of Northern Iowa’s second jazz band under the direction of Dr. Bob Washut.