by Corey Rubin | Feb 7, 2016 | Uncategorized
Lucy I’m Home and Other Meshugas, for brass quintet, is about injecting levity into serious music. As such, each of its three movements incorporates a humorous element. The opening movement, “Antiphon,” divides the quintet into two groups, whose stately...
by Corey Rubin | Feb 7, 2016 | Uncategorized
Eulogy for “This Way to the Monkeys”, for clarinet, cello, and piano, explores the theme of nostalgia, and the “letting go” that often accompanies growing up. The title refers to an artifact from my past—a page that I’d ripped out of a Curious George coloring book and...
by Emmanuel Berrido | Feb 7, 2016 | Uncategorized
Hot Potato, for flute, bass clarinet, horn, trumpet, trombone, percussion, piano, violin, viola, cello, and contrabass, offers three different perspectives on the simple idea of sharing of material between instruments in an ensemble. The first movement (also titled...
by Emmanuel Berrido | Feb 7, 2016 | Uncategorized
La Oración Del Ateo (“The atheist’s prayer”), for vocal quartet and piano, is a setting of a poem by the Spanish author and philosopher Miguel de Unamuno (1864–1936). The poem is a lament; it concerns the despair of one who understands that God does not exist, but...
by Emmanuel Berrido | Feb 7, 2016 | Uncategorized
Party Lines, for solo clarinet, casts multiple voices within the context of a single line. The title harkens back to the early days of the telephone, when multiple households were often required to share a single “party line.” Here, the “voices” may be differentiated...
by Emmanuel Berrido | Feb 7, 2016 | Uncategorized
C. japonica, for solo marimba, incorporates music and ideas I have absorbed during my travels in Japan. I am hardly the first composer to draw a connection between the sound of the marimba and the culture of Japan—the pairing borders on cliché—but I can’t help it: the...
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