#Digitice mario luciform series#

At the premiere, the composer John Adams praised the workвЂ™s вЂњstentorian gesturesвЂќ. A confluence of green spaces, deep breathing, the inner radiance of hard matter, shimmering light, and subterranean depths. Following this introduction, a repetitive and ritualistic chant-like passage is gradually transformed into a much more fluid sense of time, where different types of musical material co-exist with one another.

The third movement is transformational, and begins with chant-like sounds evoking playful dancing light, and the heaviness of stone.

The contrasting second movement evokes imposing modern and art deco architecture, ancient pyramids, aerodynamic curves, the metallic steel of skyscrapers, and the contemplative awe of expansive urban landscapes. John the Divine, NYC), with music evoking an organ, ecstatic plainchant, stained glass windows, and many different kinds of shimmering light. The first movement can be equated with a gothic cathedral (St. The three movements of вЂњLightmassвЂќ evoke living architectures and urban spaces вЂ“ outward manifestations of inner experience, a living building as a divine body. Thomas Hooten, Christopher Still, Andrew Bain, David Rejano Cantero, Norman Pearson, Joanne Pearce Martin Movements:

October 1st 2016 at Walt Disney Concert Hall, Los Angeles.

Score available at Project Schott New York Lightmass (2016) 24вЂ™ for brass quintet and synthesizerД¬ommissioned by Los Angeles Philharmonic Association

Barry creates virtuosic contrasts between rapid-fire arpeggios and breath tones, Marianne evokes amazing fluidity and color, while Alex alternates between heavy riffs and ecstatic gestures that dance on the threshold of syncopation and pointillism. TaleaвЂ™s playing on this recording strikes a balance between fierce precision and transformational nuance.

#Digitice mario luciform series#

The arpeggiating woodwinds summon a distorted synth line, leading to a series of riff-oriented sections that cycle back into each other. In tribute to these ideas, Sacrament uses repetition and variation to explore connections between speed and resonance, spaciousness and overload, growth and decay. The above quote by Teilhard elegantly encapsulates an essential aspect of this thought, in which sacramental experience is not proscribed by church authority, but is radically accessible through celebration of body-centered biocentric kinship. In Rosemary Radford RuetherвЂ™s Gaia and God, she advocates for a вЂsacramental traditionвЂ™ of earth healing, linking historically heretical proponents of immanent divinity from Irenaeus to Whitehead. вЂњMatter is spirit moving slowly enough to be seen.вЂќ вЂ“ Teilhard de Chardin Premiered by Talea Ensemble: Alex Lipowski, Barry Crawford, Marianne GythfeldtДЇebruary 17 th, 2017 at National Sawdust, Brooklyn photo by Paula Court Cycle and Reveal by Mario Diaz de Leon

Score available at Project Schott New York Sacrament (2017) 13вЂ™ for flute, clarinet, marimba, and electronicsД¬ommissioned by Katarina Pistor and Carsten Bonnemann Accompanied by shimmering, bass heavy electronics, Rebekah fluidly commands and extends the range of her instrument, encompassing hypnotic, lyrical, volatile, and luminous states. This displacement provides the framework for a larger scale unfolding of tersely interlaced gestures, which periodically converge in bursts of energy. The detailed exchange that follows is based on polymetric repetition RebekahвЂ™s arpeggio-line enters every 4 beats, while the synthesizer вЂњhitsвЂќ enter every 7 beats. The opening section features an archaic modal melody that culminates with one of RebekahвЂ™s techniques вЂ“ a primal scream played on the bassoonвЂ™s high G. This piece builds on the legacy of my works for solo performer with electronics, in particular The Soul Is the Arena, written for Joshua Rubin in 2010, and Luciform, written for Claire Chase in 2011. Index Labrys (2017) 9вЂ™ for bassoon and electronicsД¬ommissioned through ICEвЂ™s First Page, with generous support from Connie Steensma and Rick PrinsДЄ labrys is a double headed battle axe, which was widely used in ancient Minoan culture as a symbol of feminine divinity.