1. Carlos Delgado - Song for Timisoara (06:37)
2. Riccardo Santoboni - Gleams Favillae, for Clarinet Solo (04:34)
3. Youngmi Ha - Circles of Time (09:33)
4. Klaus Sinfelt - Five Pieces for Alto Saxophone (07:40)
5. Barbara Jazwinski - Visions, for Solo Cl. (07:55)
6. Martin Rokeach - North Beach Rhapsody (07:23)
7. Chianan Yen - Golden Blackphone (07:19)
8. Ron Mazurek - Round Dance (09:44)
9. Dinu Ghezzo - Wind Rituals (12:18)
CD Total music 73:23 (with 20 seconds blanks, 2" each before and after pieces)
Pure music: 73:03 (without any blank timing)
Sound Engineers: Nicole Jung (1, 2), Adrian ..... (3,7,8,9), Paul Geluso
(4,6), DDG (9)
Sound editing: Chianan Yen
EMIL SEIN, Saxophones, Clarinets, Wind Objects is a much awarded
performer, raised and educated in Timisoara, Romania. Presently much in
demand performer in the US and Europe, Mr. Sein is a recepient of many international
awards: State First Prize of Romanian Composers Society (1990), The Stipendienpreis
of the New Music Festival in Darmstadt (1990), The Kranichsteiner Prize
of the New Music Festival in Darmstadt (1992), the ANMC Award in New York
(1995), and twice the INM Consortium (1998). He has appeared as a soloist
at the 1988 George Enescu Festival in Romania, Darmstadt New Music Festival
in Germany (1990-1992), The 1991 Bordeaux Music Festival, the 1991 East-West
Festival in Amsterdam, Holland, the 1993 New Music Festival of Bogota, Colombia,
the 1993 New Music Festival of Huddersfield, England, the 1996 ANMC Festival
in Italy, the 1996-1998 INMC Series and at Lincoln Center in New York.
In addition to his position as performer with the BANAT Philharmonic in Timisoara, Romania, Mr. Sein has been invited as performer in residence at several music institutions in the US and Europe: 1996 Distinguished Performer in Residence at New York University, 1996 Visiting Performer at KCC (CUNY), 1998 visiting performer at Tulane University (New Orleans, at Bergen College, New Jersey, Univ. of Chicago, 1995 at Musicarama New Music Festival in Hong Kong, as well as appearing as soloist and chamber music specialist in Heidelberg, Tubingen, Baden Baden, Alen, Karlsruhe, Berlin, Bremen, Oldenburg (Germany), Einhoven, Venlo, Zvolle and Groninge (Netherlands, Manchester, England, Budapest and Szeged (Hungary), Paris, France, Valencia, Spain, Hung Tzu and Bejing, in China, and in New York, New Orleans, Washington and Chicago.
Emil Sein has appeared as soloist with many orchestras, such as Oradea Symphony, Banat Philharmonic, etc. He has premiered many new works specifically written for him by Leo Kraft, Dinu Ghezzo, Ron Mazurek, Carlos Delgado, Anatol Vieru, Stefan Niculescu, Tiberiu Olah, Aurel Stroe, Nicolae Brindus, Costin Miereanu, T. Loevendie, Robert Sirota, R. Denisov, V. Globokar, R. Schwartz, Yehuda Yannay, R. Tzang, Ng Chun Hoi, John Gilbert, etc. His repertoire includes over 300 contemporary works by composers such as: Iannis Xenakis, Luciano Berio, Steve Reich, G. Scelsi, John Cage, K. Stockhausen, etc.
With the exception of the work by Martin Rokeach, all the works included in this recording are either works commissioned by Mr. Sein (Ghezzo, Mazurek, Jazwinski) or written and dedicated to Mr. Sein (Youngmi Ha, Klaus Sinfelt, Chianan Yen).
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1. Carlos Delgado holds a B.Mus. from Berklee College of Music and a M.A. in composition from New York University, where he is a doctoral candidate. His music has been heard in Argentina, England, Germany, Italy, Japan, Romania, Venezuela, and the United States, and is available on the Living Artists Recordings and Capstone Records labels. He has also worked as a jazz pianist, arranger, and composer of soundtracks for radio, video, and independent films. Mr. Delgado is the recipient of the New York University Composition Award, the NYU Award for Outstanding Doctoral Achievement, and the Society of Composers Inc.'s 1997 SCI Compact Disc Series Award. He teaches at New York University and Bergen Community College.
Song for Timisoara was inspired by the lingering memories of my 1997 visit to Romania, particularly those of Timisoara's Metropolitan Cathedral. It was on the steps of this building that the singing of children triggered the events which led to the 1989 Revolution. The piece opens with a mournful lament highlighted by inflections reminiscent of traditional singing styles. A fanfare figure then announces a bolder spirit, but it quickly dissolves into brief question-like phrases, which echo through the void. After a climactic episode, a chorale texture marked "religioso" brings the piece to a close.
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2. Riccardo Santoboni (Italy 1964) , is Professor of Computer Music at Accademia Musicale Pescarese and Professor of Composition at Campobasso National Conservatorio and at Universitý della Musica in Rome. He is a recipient of the 1998 INMC Award in New York, and has been a visiting composer at New York University, . He also was included on the "Cassandra" CD, released by Capstone Records. He has given summer masterclasses in Computer Music at Accademia Musicale Chigiana of Siena. Winner of various international and national composition comnpetitions; his composition have been performed in USA, Europe, South America, Korea,..., and pubblished by Agenda Edizioni (Bologna).His musical research deals with psychoacustical perception of musical events, subordinate by mathematical deterministic and chaotic structures. He is the artistic director of the International Computer Music competition "Pierre Schaeffer". (r.santoboni@mclink.it)
Main compositional parameter in Gleams Favillae, is the perceptive thickness of sound. Sound-point , line-profile, doubleline-profile (plane), thickness (volume). Changing in spatial dimension and size can be obtain also with a single instrument played by an exceptional player. The itinerary presented in the piece is a morphing from a monodimensional to a pluridimensional "object". The transition through the dimensions is structured in subsections, someone extremely determinate, someone with the interaction of the player. The energy in the inner beginning point-sound develops expanding in increasing dimensions, until his explosion, when the third dimension is reached. From that point, it begins the coming back travel towards the point-sound, that now is present with a shadow of his inner energy rappresented by tuned voiced perfectly tuned (point-sound) or in beating with the instrument (volume).
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3. Youngmi Ha holds degrees in music composition from E-Wha Womens University and New York University and is now pursuing her Ph.D. at NYU, where she serves as the undergraduate composition advisor. She has studied at NYU with Robert Sirota, Justin Dello Joio and Dinu Ghezzo. She is a recipient of the Annual Graduate Composition Awards every year from 1993 to 1997. She is also the receiver of the Roger Phelps Doctoral Research Scholar Award in 1997. Her music has been performed in Korea, Italy, Germany, England and in the US, at Merkin Concert Hall, at NYU, etc.
Circles of Time is a piece for solo clarinet and was composed for Emil Sein in the fall of 1996. It consists of three movements and expresses the composer's desire to fly away in the infinite sky to a different time and a different world. The bird's singing and its movement of flying in circles became the thematic ideas of the static long melody and fast grace notes throughout the piece.
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4. Klaus Sinfelt lives and works in Manhattan as a composer, guitarist, and teacher of music. His com-positional output is diverse, and his musical interests extend to a variety of styles and genres. A frequent performer in and around the New York area, Mr. Sinfelt's style could best be described as a synthesis of contemporary and bebop jazz, seasoned with elements of rock, pop, and world music. Currently, he holds a position as the Assistant Director of Music Theory at the New York University Department of Music and Per-forming Arts Professions, where he is a doctoral candidate. Mr. Sinfelt is also a member of the composition faculty, and is the coordinator for the undergraduate aural comprehension sequence and computer assisted instruction programs. His works have been performed in the United States, Europe, and Asia.
Five Movements for Saxophone
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5. Barbara Jazwinski received her M.A. in composition and piano from Stanford University and her Ph.D. in composition from the City University of New York (1984). Her teachers included Mario Davidovsky, Gyorgy Ligeti and John Chowning. Currently, she is head of the composition and theory program at the Newcomb Music Department at Tulane University in New Orleans. Among her awards are the 1981 Prince Pierre of Monaco Musical Composition Award for her Sextet and the First Prize in the Nicola De Lorenzo Composition Contest for Music for Chamber Orchestra. She is the recipient of numerous commissions, grants and fellowships. Barbara Jazwinski also serves as Music Director of Spectri Sonori, the award-winning, chamber music concert series specializing in performances of contemporary music, which also sponsors the annual International Spectri Sonori Composition Contest.
Visions for clarinet solo, was composed in 1990 and premiered at the Spectri Sonori Concert Series in New Orleans. The work exploits the timbral characteristics of the instrument in various registers and dynamic levels. Visions consists of four sections, all of which contain virtuoso passages for the instrument.
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6. Martin Rokeach (b. 1953) earned degrees in music composition from San Francisco State University and Michigan State University. His works have been performed throughout the United States, Europe and Australia, and have received numerous awards and honors, including first prize in the Cygnus Ensemble, CRS and Delius composition competitions respectively. He teaches at St. Mary's College of California, and is one of the founders and artistic directors of San Francisco's contemporary music concert series, Composers, Inc.
Big cities have always fascinated me. Sophisticated, crude, tense, funky, sometimes frightening, always stimulating -- it is this mood I have tried to capture in North Beach Rhapsody. Although I have lived in or near San Francisco for many years, I had no thought of its famous North Beach section until after the piece was completed. Rather than take the title literally, I'd prefer the listener consider it a symbol of the impulse and energy we find in both big cities and ourselves.
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7. 7. Chianan Yen was born in Taipei, Taiwan, earning his B.S. in Electrical
Engineering at National Central University. He came to United States in 1995 as
a student in the Stephen F. Temmer's Tonmeister Profession Program at NYU, and
is a recipient of Master's degree in Music Technology. His works have been
performed in Canada, China, Germany, Holland, Italy, Romania, Taiwan, U.K. and
U.S.A. Currently He is a Ph.D. student in Music Composition and Technology at
NYU.
"Golden Blackphone" was the first attempt of Mr. Yen by using Fibonacci series
to serve as a musical note generator. Being divided by 12 of each term,
infinite Fibonacci series derives a finite 24-term-looping series by gathering
its remainders. Each remainder is implemented into the circle of fifths to
obtain the pitch information. Motif is generated by grouping the same digit
numbers of Fibonacci series within its first 60 terms. "Golden Blackphone" was
specially written and dedicated to the clarinetist, Emil Sein, for its world
premiere.
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8. Ron Mazurek is currently teaching at New York University, Bergen Community College and the Rutherford Public Schools in New Jersey. His compositions have been performed throughout the USA, South America, Japan, Korea, and Europe and are published by Seesaw Music Corporation N.Y. and Accademia Internazionale Di Musica in Italy. He has been awarded numerous grants including a Fellowship in Composition from the New Jersey State Council on the Arts and an Arts Link Grant from the National Endowment of the Arts for a composer residency in Romania. Ron is also an accomplished performer on electronic keyboards having performed at Weill Recital Hall, Merkin Hall and major new music festivals both in the U.S.A. and Europe. His works have been recorded on compact disk by North/South Records, Jersey Sessions recordings, and Capstone Records.
The Round Dance (1996) is based on one of the most moving passages from Christian literature which is described in the apocryphal Acts of John. Just before going out to the garden at the end of the Last Supper, Jesus says to his apostles "Let us dance!" As they moved round in a circle, Christ sang a song of praise, from which I have selected and focused upon four characteristic verses. Each of the four dances is a reflection of the writings that has gone into this hymn and is integrated within the trio and the electronic timbres of the tape.
It is written for Clarinet, Cello, Piano, Dancers, and electronic Tape.
The additional players are:
Cello: Julia Sein
Piano: Andrei Deleanu
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9. Dinu Ghezzo studied at the Romanian Conservatory in Bucharest (1964,1966), and at UCLA (PhD, 1973). He is a professor of music at New York University, and director of the NYU Composition Program and is much involved in national and international music projects, as founder and director of the INMC Inc. (International Music Consortium), and past director of several international festivals. A recipient of many awards, prizes and commissions, his is music is published by Editions Salabert of Paris, TGE (Milan, Rome) and by Seesaw Music Corporation, New York. His compositions are featured on several Orion Master Recording albums, on several Capstone Records, as well as on TGE (Tirreno Gruppo Editoriale), WDR Cologne and Grenadilla label.
Wind Rituals is trying to display the extraordinary musical abilities, imagination and technical mastery of Emil Sein. The piece investigates multiple relationship between a solo wind player, percussion, prepared piano and a tape or interactive Macintosh computer. The score - which is more of a diagram of activities, suggesting textures, modes, and relationships - is centered around two lengthy cadenzas, and three computer (or tape) files. These files are the essential shaper of the pitch material of the piece, which is modal in character, shifting from a D modified Dorian to a C Phrygian and back to D Dorian, and it shapes its overall structure into a loosely organized A-Cadenza I-B - Cadenza II - A' form.
The piece has been recorded in 1995 in a concert in Constanta - Romania, with Emil Sein Soprano, Alto, Tenor and Baritone Saxophones, Piccolo Cl., Clarinet in Bb, Bass Clarinet in Bb, Ethnic Winds and Wind Objects (all one player), Piano/Percusion and Tape.