Fantasia: Other Unidentified Possibilities for Piano
SKU:
$10.00
$10.00 - $20.00
per item
Fantasia:
(an Even [Odd] Interval over
Odd [Even] Rhythms)
or
Even an Odd (Interval) Fantasia
over [Odd:Even] Rhythms
or
Rhythm:Intervals over (Odd[Odd]
[Even]Even) Fantasia
or...
Other Unidentified Possibilities
for
Piano
Duration: 7 minutes
Premiere:
Photo: "Klänge" Pl.19 (1913) by Wassily Kandinsky
(an Even [Odd] Interval over
Odd [Even] Rhythms)
or
Even an Odd (Interval) Fantasia
over [Odd:Even] Rhythms
or
Rhythm:Intervals over (Odd[Odd]
[Even]Even) Fantasia
or...
Other Unidentified Possibilities
for
Piano
Duration: 7 minutes
Premiere:
Photo: "Klänge" Pl.19 (1913) by Wassily Kandinsky
Program Note
Unidentified - Possibility for Surinach (That could actually be the title!)
That was the original working title for this Fantasia for Piano, a work started in December 2011 when I was invited to join BMI by Ralph Jackson, then President of the BMI Foundation, who encouraged me to submit something to the Carlos Surinach Fund Commission, since I had received a BMI Student Composer Award that spring. Though I was not selected for the commission, these sketches, and the encouragement bound to them through the invitation, were carried forward for the years to come. Every so often, I would resurrect these sketches, and add a few notes, a few bars, a new phrase -- always reminded of what could be yet still wasn't -- those "Unidentified Possibilities" that this material presented.
This work travelled with me from Sioux Center, IA, where I studied at Dordt College, on to Spencer, IA, where I worked for a community theatre for a summer, then to Madison, WI, where I received a Masters in Music Composition, and finally to Newport, MN and my time working for the Saint Paul Chamber Orchestra administrative office. Some part of me -- of my creative process, of the places where I've lived, what I was learning, what I was experiencing -- is wrapped into every facet of this piece. There are fragments composed at summer festivals in Indiana, in New York. There are fragments from Poland, from Italy, from Brazil. And then, in December 2018, the work finally starting to come together and by February 2019 its trajectory came to an end.
Finishing a piece (especially one that has been developing for over seven years) is always a mixture of joy and sadness: joy because it finally has a chance to move on, and sadness because those "unidentified possibilities" have been collapsed into a singular, definitive statement.
It is now more a piece of my past then a part of my present. It's true that the newer parts can still be identified as from a particular place and time, but the old parts are blurring together. In a few years, perhaps I won't remember "exactly" when and where a given passage was composed -- and that's natural when a piece fades from memory and as it is carried forward into the future, whatever and wherever that may be.
The title, which can be as simple as Fantasia or as complex as you want, leaves some room for the "unidentified" and makes reference to the limited motivic material of odd and even intervals and rhythms used in odd (unexpected) and even (expected) ways throughout the piece.
That was the original working title for this Fantasia for Piano, a work started in December 2011 when I was invited to join BMI by Ralph Jackson, then President of the BMI Foundation, who encouraged me to submit something to the Carlos Surinach Fund Commission, since I had received a BMI Student Composer Award that spring. Though I was not selected for the commission, these sketches, and the encouragement bound to them through the invitation, were carried forward for the years to come. Every so often, I would resurrect these sketches, and add a few notes, a few bars, a new phrase -- always reminded of what could be yet still wasn't -- those "Unidentified Possibilities" that this material presented.
This work travelled with me from Sioux Center, IA, where I studied at Dordt College, on to Spencer, IA, where I worked for a community theatre for a summer, then to Madison, WI, where I received a Masters in Music Composition, and finally to Newport, MN and my time working for the Saint Paul Chamber Orchestra administrative office. Some part of me -- of my creative process, of the places where I've lived, what I was learning, what I was experiencing -- is wrapped into every facet of this piece. There are fragments composed at summer festivals in Indiana, in New York. There are fragments from Poland, from Italy, from Brazil. And then, in December 2018, the work finally starting to come together and by February 2019 its trajectory came to an end.
Finishing a piece (especially one that has been developing for over seven years) is always a mixture of joy and sadness: joy because it finally has a chance to move on, and sadness because those "unidentified possibilities" have been collapsed into a singular, definitive statement.
It is now more a piece of my past then a part of my present. It's true that the newer parts can still be identified as from a particular place and time, but the old parts are blurring together. In a few years, perhaps I won't remember "exactly" when and where a given passage was composed -- and that's natural when a piece fades from memory and as it is carried forward into the future, whatever and wherever that may be.
The title, which can be as simple as Fantasia or as complex as you want, leaves some room for the "unidentified" and makes reference to the limited motivic material of odd and even intervals and rhythms used in odd (unexpected) and even (expected) ways throughout the piece.