Doron Kima composer
Clifton Callender composer
Jorge Variego composer
Alex Freeman composer
Eric Nathan composer
Chris Arrell composer
Philip Carlsen composer
Edward Kawakami conductor; Carlos Feller flute; Wonkak Kim clarinet; John Thayer violin; Katherine Geeseman cello; Eun-Hee Park piano; Emily Hanna Crane violin; Hui-Ting Yang piano
University of Florida Flute Choir | Charley Andersen conductor | Dr. Kristen Stoner director, flute; Nicole Frankel flute; Natasha Herrera flute; Kristin Davis flute; Elizabeth Gravitz flute; Lisa Richmond flute; Katerina Allmendinger alto flute; Maho Azuma alto flute; Bethany Rowlings bass flute
Risto-Matti Marin piano; Amanda Kohl soprano; Joseph Lin violin; Ted Gurch, clarinet; Helen Kim violin; Brad Ritchie cello; Tom Sherwood vibraphone; Melsen Carlsen piano
The 28th edition of the Society of Composers, Inc. release series and the 4th on Navona Records, PENDULUM extrapolates and elaborates on several themes relating to variation, transformation, repetition, and more.
This installment features works from seven SCI composers: Doron Kima’s As From a Dream focuses on changes in texture as well as symmetry, developing varying thematic episodes throughout; Metamorphoses II by Clifton Callender is a gradual transformation of musical figures, employing harmonic extensions typical of folk fiddling; Jorge Variego, in Walls (flute nonet), presents a study on perception, using a nine-note block and rotating it in many directions as if it is three-dimensional; Alex Freeman’s Night on the Prairies, taking its name from a Walt Whitman poem, preserves the purity of the mid-West prairies and alludes to simple campfire tunes of the region; Wing Over Wing, Eric Nathan’s song-cycle, explores the various concepts associated with the definition of flight, taking imagery from Whitman’s poems and his own; Chris Arrell’s piece Narcissus/Echo pulls imagery from the Greek mythology, depicting the continual rippling theme of Narcissus’ reflection, which becomes the source of Echo’s repetitive calls; October by Philip Carlsen presents a succession of “rapid, metrically-shifting” arpeggiations as well as an exploration of voicing and doublings that trick the mind into hearing a piano of equal temperament as out of tune. This compilation reflects the diversity and originality of techniques coming from some of today’s most talented composers.