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Charles Reskin, Chet The Jet for trumpet and piano

Charles Reskin, Chet The Jet for trumpet and piano

Friday, November 20, 2015

The piece was inspired by a series of books about a California private detective Bernie Little and his dog, Chet. In the books, Chet is the one telling the story! He calls himself Chet the Jet. It's a very amusing series, and I thought it would be fun to write a piece about Chet.
The piece opens with a happy, jumpy portrait of Chet, who is proud to be part of the detective agency. Gradually, he gets sleepy and nods off. Then comes a mellow jazzy section in which Chet dreams he is a big hero with everybody admiring him. Soon the music quickens as Bernie wakes him up to go to work on a new case. They jump into Bernie's old Porsche and start following clues, finally catching the bad guys. There is a brief lyrical interlude where Chet expresses his feelings for Bernie, and then the two go home, happy, to wait for the next adventure. Charles Reskin

Laurie Altman, Colors of the City for 2 trombones (or horn) and piano

Laurie Altman, Colors of the City for 2 trombones (or horn) and piano

Thursday, November 19, 2015

“Colors of the City” represents a nostalgic look back at New York City where I was born and lived for many years. The work is an attempt to capture the energy, vitality and beauty of that extraordinary place. The specific contours of two singular New York locations are explored in movement II, Oasis/Central Park, and in movement III, Boogie Down Broadway. In a sense, the piece presents a portrait of a typical New York City day, “Awakening” (movement I) and coming to life; a quiet walk through Central Park, and ending in an exploration of the color, light and intense human excitement of Broadway. Homage to New York City, metropolis of the arts and an inexhaustible source of musical inspiration. Laurie Altman, March 2015, Zurich, Switzerland

Askell Masson, Blik for Clarinet solo

Askell Masson, Blik for Clarinet solo

Monday, November 16, 2015

The six minute long piece covers the complete range of the instrument and proposes a strongly contrasted and sustained succession of short sequential incantations based on rhythmic, lyric, declamatory, and recitative types, or virtuoso legato or staccato flights, all based on a “Lento cantando” tempo interrupted by five dizzying accelerandi with a few multiphonics. This contemporary lexicon requires not only a mastering of the instrument, but prioritizes an expressive and theatrical capacity to transcend the technical virtuosity in order to touch the listener's emotions.

Jean-François Michel, 2 Senes for flute and piano

Jean-François Michel, 2 Senes for flute and piano

Monday, November 16, 2015

Learning instrumental techniques is transmitted through methods and technical studies. But for the art of interpretation, the transmission occurs with musical works that are adapted to specific technical levels, in progressive sequencing formats, and which enable student practitioners to both comprehend and assimilate what is written in order to liberate musical expressiveness and musicianship. Jean-François Michel has become a master of this sensitive initiatory pedagogical approach. His works are knowledgeably and artistically graded to stimulate intelligent rendition, the happiness to play... and to be heard.

Mark Lanz Weiser, Concerto for Marimba

Mark Lanz Weiser, Concerto for Marimba

Thursday, November 12, 2015

This Concerto for Marimba takes advantage of the various timbre possible on this beautiful percussion instrument. From the woody, mellow qualities of the lower and middle range to the bright higher notes, the concerto features a wide spectrum of sounds on the instrument. The string orchestra not only provides a supple accompaniment to the various solo passages, but is itself featured in music that is at various times lyric, wistful, and determined.

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