Jane O'Leary

Born in Hartford, Connecticut, Jane O’Leary has been resident in Ireland since 1972, making her home in Galway on the west coast. She is a graduate of Vassar College, holds a Ph.D. in composition from Princeton University, and was awarded an Honorary Doctor of Music Degree by the National University of Ireland in 2007.

 

As director and pianist of Concorde, Ireland’s first contemporary music ensemble, O'Leary has enjoyed connecting with composers and audiences worldwide since 1976. Concorde’s performances appear on the Navona Records album REFLECTIONS.

 

O'Leary's music has been featured at prestigious international festivals and venues, including the Kennedy Center, Washington DC; the Lincoln Center and Carnegie Hall, NY; Chicago Cultural Center; National Concert Hall Dublin. Recent performances have taken place at Mise-En Music Festival, New York; Risuonanze Festival, Udine, Italy; Encontro Internacional de Cordas, Limeira, Brazil; and the National Auditorium Madrid.

 

Her orchestral work Triptych, for string quartet and orchestra, was premiered by the RTE National Symphony Orchestra at New Music Dublin 2020 - ‘an exploration of glistening, metallic orchestral sonorities... demonstrated the subtleties of O’Leary’s sensitive ear and refined sense of orchestration’ (Journal of Music).

 

O'Leary's recent chamber works can be heard on the Navona Records album The Passing Sound of Forever (2017). Learn more at janesoleary.com

 

Brendan Finan, Journal of Music 2017

The Passing Sound of Forever, Navona Records: ‘In her programme note for A Winter Sketchbook, O’Leary writes that she imagined herself ‘sketching quickly, grasping the essence of the atmosphere’, and that seems an effective way to think about this album generally…there is a sense of the minimalist sketches by Picasso in their economy of material and directness of gesture."

 

 

photo: WJ Barry Photography

Peter Dickson Lopez

Peter Dickson Lopez (b. 1950), an internationally performed composer, traces his musical roots to a broad range of composers and influences originating from his tenure as a graduate student at the University of California at Berkeley and as a Tanglewood Fellowship Composer. The eclectic nature of Lopez’s mature style stems no doubt from having worked directly with composers of diverse approaches and philosophies during his early years at Berkeley and Tanglewood: with Joaquin Nin-Culmell, Andrew Imbrie, Edwin Dugger, Olly Wilson, and Earle Brown at UC Berkeley (1972-1978); and with Ralph Shapey and Theodore Antoniou during his Fellowship at Tanglewood (1979).

 

Lopez began studying piano at the age of six. His passion for composition emerged early when as a child he began to write pieces emulating the style of Bach whom he was studying at the time. For Lopez, performance and composition merged into one as he continued his studies in piano and composition in college. Indeed, this view of performance and composition was echoed by Ralph Shapey with whom Lopez worked as a fellowship composer at Tanglewood: Composition Is Performance On Paper! No doubt due to this enduring philosophy, Lopez’s compositions were recognized early in his career with a number of prizes and awards including the George Ladd Prix de Paris and the Lili Boulanger Memorial Prize, among others.

 

By the mid 1980’s, Lopez had already received numerous awards, performances in Poland and the Netherlands, a release of The Ship of Death on the 1750 Arch Records label, and recognition in academic and professional communities. Sadly, just at the beginning of his career and having achieved so much, Lopez was forced to retire early from composition due to emerging long-term health and medical concerns of his wife, Irene, and other personal considerations. Knowing how much he must be absorbed in composition to create, Lopez suspended his life’s work at that time. It wasn’t until 2010 that the vicissitudes of life once again allowed Lopez to resume composing.

 

Lopez is equally comfortable with experimental instrumental techniques (IFASIA for octet), electronics (Moment Pieces for Extended Piano), digital techniques (MISE-EN, Series I), electroacoustics (The Ship of Death for Male Voice, Chamber Orchestra and Live Electronics) and traditional methodologies (Visions des reflets et nocturnes for Piano and String Orchestra, Song of Thirteen Moons for Orchestra). During his residency in Paris (1976-1978), Lopez had the opportunity to hear in concert the music of Xenakis, Messiaen, Boulez, Berio, Stockhausen, and many other European composers, often with those legendary composers in attendance. The influence of this experience on Lopez’s composition of The Ship of Death, which he wrote during his Paris years, is unmistakable.

 

World premieres of works written after 2010 have been performed by the Sydney Contemporary Orchestra in Sydney, Australia (2017, 2018), and the Ensemble MISE-EN (November, 2018) in Seoul, South Korea. Lopez’s post-2010 projects span a range of media including orchestral, piano, instrumental, chamber, choral, electroacoustic, analog, digital, and virtual www.peterdicksonlopez.com

Corrina Bonshek

Corrina Bonshek (b. 1977) is an Australian composer who is inspired by sounds and patterns in nature and our cosmic existence. Her music has been described as "beautifully shaped and contemplative" (Clare MacClean, 2013), "deeply spiritual in intent" (Anne Boyd, 2002), and "connected to the essence of South-East Asian music - timelessness" (Chinary Ung, 2014).

 

Bonshek was awarded a Ph.D. in music from Western Sydney University in 2007 with composition tutelage by Dr Bruce Crossman, and later received mentoring from Professor Chinary Ung. Her practice includes collaborative co-creation with musicians from non-western traditions, fully scored concert works for western & nonwestern instruments and electroacoustic / live music installations for festivals.

 

She was resident composer at the 2015 Experimental Thai Music Laboratory of Burapha University in Thailand, inaugural visiting scholar of 2016 Nirmita Institute for Young Composers in Cambodia, and has been commissioned by Rainforest Fringe Festival Sarawak Malaysia 2019, 2018 Gold Coast Commonwealth Games Arts & Culture Festival, Taiwan International Arts Festival 2017, and Bleach The Gold Coast Festivals 2017 and 2018.

 

In 2018, she was a finalist in Australia Art Music Awards – Instrumental Work of the Year category for Up in the Clouds, a work for Pierrot Lunaire Ensemble that reimagined Pipa sound-colours and gestures from her solo work Desert Time for Taiwanese virtuoso Jasmine Chen.

 

Bonshek's scores are published by the Australian Music Centre. www.bonmusic.com.au

 

 

The Ady Ensemble

The Ady Ensemble was founded by Adrian Head in 2011. They are a twenty-three piece string ensemble providing innovative & eclectic concerts that are insightful, fun, and rewarding for their audiences. Their diverse repertoire ranges from the 1300s through to last week and is derived from classical, pop, techno, avant garde, cult, and gaming genres. Since its inception, the ensemble has commissioned and premiered numerous works by Australian composers. They are project-based, consisting of professional graduate performers who come together to perform two or three times a year.

 

Some of Ady’s highlights have included performing the Australian Premiere of Philip Glass’s 3rd Symphony in 2012, being a regular participant in the 4MBS Festival of Classics, and being involved in performances at both the Queensland Conservatorium of Music and the University of Queensland School of Music. In 2014, the ensemble performed as part of the CPE Bach-1714 Festival-- a world-wide festival based in Germany that celebrated the 300th birthday of Carl Phillipp Emmanuel Bach, and in 2016 it gave the first Australian mainland performance of Eddie Sauter’s Third Stream classic, Focus- written for Stan Getz in 1961.

 

Through its Emerging Classics project, Ady Ensemble is committed to providing performance opportunities for Australian composers and arrangers, along with exploring works composed in the 20th and 21st Centuries. ady.net.au

 

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