Mapping My Musical Twitterverse: Week 23

On December 16, I announced my plan to listen and briefly record my responses to the music of the composers who follow me on Twitter. This post is the twenty-second installment of what I call, “Mapping My Musical Twitterverse”, and features composers Luis Tinoco, Brad Fowler, Karl Henning, Sarah Wallin Huff, and Brian Kozaczek.

 

Luis Tinoco:

 

Luis Tinoco is a composer based in Portugal. From Luis’ website, I listened to excerpts of Cercle Intrérieur, for spatialized orchestra, Antipode, for 15 players, and the second movement of Diptych for Piano and Orchestra.

 

These works feature crisp orchestration, and importantly so because texture plays an important role in each. With this said, the fragments I listened to differed in their tonal character, with Cercle Intrérieur and Antipode seeming the most abstract. Interestingly, all three piecess include a similar swelling gesture, though always not in the same context, such that this idea’s affect varies with each piece.

 

You can find Luis on Twitter.

 

Brad Fowler:

 

Brad Fowler is a composer based in Kansas City, Missouri. From Brad’s SoundCloud page, I listened to Mirror Anima, for SSAA choir and piano, Two Laramie Sketches, for solo piano, and May Music, for wind ensemble.

 

Mirror Anima and Two Laramie Sketches appear to be deliberately reserved and materially minimal works. The second movement of Laramie Sketches is particularly evocative in its patient use of space and register. However, May Music differs dramatically in character from Brad’s other works. Like Mirror Anima, May Music is rhythmically active, but this motor leads to far grander and more bombastic ideas.

You can find Brad on Twitter.

 

Karl Henning:

 

Karl Henning is a composer and clarinetist based in Boston. From Karl’s InstantEncore page, I listened to Zen on the Wind, Op. 114, no. 2, All the Birds in Mondrian’s Cage, and Swivels and Bops, all for flute and clarinet.

 

These pieces have more in common than just their instrumentation. For example, Zen on the Wind and All the Birds are relatively calm, linear, motive-driven works who bear limited and subtle contrasts over the course of their durations. Swivels and Bops, on the other hand, stands out insofar as it propels itself with a juxtaposition between fast and slow ideas.

You can find Karl on Twitter.

 

Sarah Wallin Huff:

 

Sarah Wallin Huff is a composer, violinist, and vocalist based in Rialto, California. From Sarah’s SoundCloud page, I listened to excerpts of the soundtrack to The Book of I, along with Greek Dance for string quartet, and Face the Moonlight, for soprano, string quartet and piano.

 

These works demonstrate melody is one of Sarah’s paramount compositional concerns, an interest consistent with her role as a solo vocalist and violinist. The soundtrack to The Book of I showcases melody in a number of ways, including sections where the power balance between the melodic presence and its accompaniment shifts wildly and dramatically.

 

You can find Sarah on Twitter.

 

Brian Kozaczek:

 

Brian Kozaczek is a composer and multi-instrumentalist based in Westfield, Massachusetts. From Brian’s SoundCloud page, I listened to MIDI realizations of As Shadows, Time Passed, for solo guitar, Fugue for Piano Quartet, for piano, flute, oboe, clarinet and bassoon, and Ancestral Dance, for solo piano.

 

Rhythm is a powerful force in all three pieces, particularly As Shadows and Ancestral Dance, where Brian plays with different layers of rhythmic irregularity. Contrastingly, formal rhythm and pacing is an important factor in the Fugue. Here, Brian’s harmonic language and use of texture obscures and makes intriguing the work’s de rigueur contrapuntal mechanism.

You can find Brian on Twitter.

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