Michael Laurello is a Boston-based composer of visceral and rhythmically vital music. His compositions engage many different musical styles, including contemporary classical music, electroacoustic music, EDM, jazz/fusion, pop, and glitch music. He has written for groups and soloists such as Sound Icon, guitarist Flavio Virzì, soprano Sarah Pelletier, the Boston Microtonal Society’s NotaRiotous ensemble, clarinetist and linguist Ray Jackendoff, and pianist/composer John McDonald, among others.
- Cope, for chamber ensemble; written for Sound Icon
- Tell hope everything you hear..., for prepared steel-string guitar and pre-recorded guitar (winner of the 2012 highSCORE Festival Prize)
Born 1987 in Honolulu, Hawaii, Michael-Thomas Foumai is an active violinist, violist, conductor and composer. His music is exciting, energetic, full of vivid passages and picturesque moods (Honolulu Advertiser), and has been praised for its technical mastery and grace (LA Times). Michael received his bachelor in music composition from the University of Hawaii (UH) and is pursuing a master in music composition at the University of Michigan (UM).
Liu-Si: Threnody for Violin, Chorus and Orchestra (2010)The Light Bringer (Symphony No. 1 ) (2010)Ka (2010) for OrchestraHa (2010) for Clarinet, Violin and PianoViolin Concerto: Three Visions (2010) for Violin and OrchestraSongs of the Kisaeng (2010) for Soprano, Clarinet, Violin, Cello and PianoCorona (2009) for Koto and CelloClarinet Concerto (2009) for Clarinet and Wind Ensemble
Aaron Rosenberg earned a Ph.D. in Composition at the University of Oregon in 2009, where he also worked for four years teaching theory as a Graduate Teaching Fellow.
In 1990, Rosenberg graduated the Berklee College of Music with a Bachelor of Music in Composition and in 2003 he earned a Master of Music in Composition at the San Francisco Conservatory of Music.
"To Fill the Hour" for Flute, Clarinet, Oboe, Bassoon, Horn, Trumpet, Trombone, Piano, Percussion, 2 Violins, Viola, Cello, and Contrabass. [20 mins.] "Once" for English Horn and 3 Bassoons [2.5'] "The Crail Family, 1910" for Toy Piano [6.5'] "Friend" for Viola and Piano [6.5'] "Misty Valley Chickens" for Soprano Saxophone and Contrabass [4.5'] "Crowd Scene" for Flute, Clarinet, Violin, Cello and Piano [5'] "Trail Days" for Flute, Clarinet, 2 Bassoons, 2 Trumpets, 2 Trombones [5'] "Unsaid" for Violin and Cello [3'] "Animus Semotus" for Piano [6.5'] "Pantomime and Pastorale" for Flute, Violin, Cello and Piano [6'] "Two Indiscretions" for Piano solo [8'] "Quandaries" for String Quartet [27']"Three Rumi Love Songs" for Mezzo-Soprano and Piano [4.5']
Intellectual? Visceral?Imagination. Thoughts/feelings.Obscurantist, pithy, intentional, abstract.The imagined impossible is the only magic. Music can help.
Composer and clarinetist Jonathan Russell is active in a wide variety of music, from classical to experimental to klezmer to church music. His work stretches the boundaries of contemporary classical music, opening it up to the sounds and attitudes of the other musical traditions surrounding it.
ELEVEN for eleven clarinetsSextetfor flute, clarinet, violin, cello, piano, percussionThe Rite of Spring arranged for woodwind quintetFull Faith and Creditfor clarinet, violin, cello, piano, percussionString Quartet #1
I am drawn to music and art that is direct, visceral, and alive. I feel a profound sense of wonder at the power, energy, and mystery of life and the universe and I hope to convey this in my own music. I believe in breaking down barriers between musical genres and incorporating aspects of all the music I love - from Brahms to Stravinsky to Heavy Metal to Klezmer - into my music, without distinction. My life as a performer is also central to my compositional work, as I strive to write music that is enjoyable and interesting to play, and that draws on and respects the talents of performers.
A native of Los Angeles, California, Edward David Zeliff began his musical life studying piano with the renowned pianist and Master Teacher Earle Voorhies (whose musical pedigree goes back to Franz Liszt via Alexander Siloti, a teacher of Rachmaninov). He went on to study composition at the California Institute of the Arts, earning there his Bachelor of Music degree.
TO KNOW (for Mixed Chorus, a cappella, a setting of a poem by Emily Dickinson that expresses the thoughts of a person whose loved one has died far away from home); WORLD WITHOUT WAR: A PRAYER FOR PEACE (for Mixed Chorus and Strings); HEART OF DARKNESS: A SYMPHONIC VISION OF THE SHORT NOVEL BY JOSEPH CONRAD (for large Orchestra); IN THE SILENCE OF MY SOUL (an a cappella anthem for mixed chorus); I AM A POOR WAYFARING STRANGER (an a cappella spiritual arrangement for mixed chorus); MY SOUL MAGNIFIES THE LORD (an a cappella setting of the Magnificat for divided Mixed Chorus); SING THEM TILL THE NIGHT EXPIRE (a new Christmas Carol for Mixed Chorus and Celesta); WHO ARE YOU, MY LITTLE ONE? (also Christmas, mixed chorus and piano, with optional oboe); WHEREVER YOU GO: A SONG OF RUTH (treble chorus with piano).
Other projects recently completed include an orchestral transcription of the social, historical, and psychological implications of Joseph Conrad's novella HEART OF DARKNESS (for large orchestra), I, MARINER (for solo voice and orchestra - "An excellent work featuring poems about the sea; impressionistic and multi-cultural, with lovely canto passages" - Foundation Orchestra Association), and WORLD WITHOUT WAR (a 20 minute, 3 movement prayer for peace incorporating thoughts from 12 major world religions, scored for mixed chorus and strings). Dr. Zeliff currently resides near the Claremont Colleges and maintains a busy schedule teaching composition at Claremont Graduate University in addition to giving private voice and piano lessons, composing, and conducting church choirs, all the while finding the time to prepare full length piano recitals. Edward David Zeliff is both a composer and publisher member of ASCAP.
I teach all my students, performance and composition alike, that all great music by the masters strives to maintain the balance between tension and its release as well as the balance between the repetition of an idea and the statement of a new one when working out the formal structure. Our job as students and practitioners of the art of music is to discover these balances and use that knowledge to shape convincing and emotionally satisfying performances. So too with us composers: in our efforts to structure new musical works, we need to be cognizant of these balances and demand of ourselves the highest standards in the creation of music that satisfies both the mind and the heart without sacrificing our artistic integrity. Music needs to communicate ideas, and it needs to be felt: felt by those who create it, by those who perform it, and by those who hear it, for then it will be understood, and when understood, it then communicates.
Charles Paul Menoche is the Chair of the Department of Music at Central Connecticut State University. He holds a Bachelor of Science degree in Music Education from Tennessee Technological University and Master of Music and Doctor of Musical Arts degrees in music composition from the University of Texas at Austin. His principal composition teachers include Robert Jager, Dan Welcher, Russell Pinkston, and Donald Grantham. As a composer, Dr. Menoche has written a variety of works for voice, acoustic instruments, small and large ensembles, and electro-acoustic media.
Meldings a collaborative installation with video artist Ronald Todd
born Philadelphia PA; principle teachers Annea Lockwood, Ralph Shapey and Shulamit Ran; AB Vassar College, AM and PhD University of Chicago; active as pianist and electronic musician. Awards/honors from Yaddo, MacDowell, American Composers Forum, BMI, ASCAP, Meet the Composer, Darmstadt Festival, Ragdale Foundation, New York State Council on the Arts, WK Rose Trust, Aspen Music Festival; resides in Brooklyn NY. Works published by LuxNova Press and PBP Music. Commissions by leading performers, presenters and institutions. Recordings on Koch International Classics and Centaur.
SZELLEM, for alto saxophone and guitar, commissioned by Duo Montagnard, 2012; GANGES (piano and electronics) for the "Music With A View" Festival at the Flea Theater, NYC, 2011; JANG (piano and electronics) 2011; THEN (2009) for voice, flute, viola and cello, commissioned by Monadnock Music; QUARTET FOR SAXOPHONES, commissioned by the Mana Quartet (2010); FIELD MUSIC: ASH (violin and cello) 2007; FIVE CHORUSES from "Oedipus at Colonus" (voices, oboe and percussion) 2006-2007 (commissioned by Vassar College and the Mellon Foundation); THREE PIECES (flute and piano) 2006; TWO FOR THREE (flute, clarinet and piano) 2007. Visit my website for more information: www.jonathanelliott.net
please visit my website for more news, information about upcoming performances, audio samples, and more: www.jonathanelliott.net