Orlando Jacinto Garcia
Innova 321- digital only
About Orlando Jacinto Garcia
Through more than one hundred and forty works composed for a wide range of performance genres, Orlando Jacinto Garcia has established himself as an important figure in the new music world. The distinctive character of his music has been described as "time suspended- haunting sonic explorations" qualities he developed from his studies with Morton Feldman among others.
Born in Havana, Cuba in 1954, Garcia migrated to the United States in 1961. In demand as a guest composer and lecturer nationally and internationally, he is the recipient of numerous honors and awards from a variety of organizations and cultural institutions, most recently including the including the New Ariel, Noise International, Matiz Rangel, Nuevas Resonancias, ACF Sonic Circuits, Salvatore Martirano, and Bloch International Competitions, and fellowships, residencies, and other awards from the Rockefeller, Fulbright, Dutka, and Cintas Foundations, as well as the State of Florida Council for the Arts. With performances in most of the major capitols of the world by numerous distinguished soloists, ensembles, and orchestras, his works are recorded on New Albion, O.O. Discs, CRI /New World (Emergency Music and eXchange labels), Albany, North/South, CRS, Rugginenti, VDM, Capstone and Opus One Records and are available from Kallisti Music Press, the American Composers Alliance, and BHE.
He is the founder and director of several international festivals including the New Music Miami Festival and the Music of the Americas Festival, as well as being the founder and artistic director of the NODUS Ensemble and the Florida International University New Music Ensemble. Garcia is Professor of Music and director of the Composition Program for the School of Music at Florida International University in Miami (USA).
For more information visit http://www.orlandojacinto garcia.com
About the Music
In much of my music the counterpoint between timbre, register, density, and pacing as well as the slow evolution of material are important aesthetic concerns. This slowly evolving material often creates the perception of a stasis or a freezing of time in the listener; an experience similar to that often elicited by the pacing in some Non-Western music. Lastly, in addition to these concerns, the exploration of where sound ends and silence begins and the reverse, is of great interest and evident in many of the works - OJG
About the Works
fragmentos de la noche (Night Fragments) was written during January and February 2001 for cellist Maya Beiser. The work was premiered on May 6, 2001 by Maya Beiser as part of a NY concert sponsored by the Joyce Dutka Foundation. The title, Night Fragments, is a reference to the fact that much of the material for the work was created late in the evenings when at least in my case, the sense of hearing is quite acute. After the work was completed I also noticed that I unintentionally included several fragments that elude to Schoenberg's, Nacht from Pierrot Lunaire. These unintentional references combined with the fact that the work was mostly written in the evenings led me to the title. The recording on the CD is by highly regarded New York based virtuoso cellist Madeleine Shapiro who has performed the work on numerous occasions.
como un coro de clarinetes celestiales (like a choir of celestial clarinets) was created in the Music Technology Center at Florida International University in Miami during the Summer and Fall of 1999. The source materials for the piece are digital audio samples that I made of myself playing a clarinet through a digital processor. The music consists of sustained notes, trills, scalar lines, etc., all performed by employing circular breathing. The samples were then processed and assembled using a variety of software including Supercollider, Peak, and Pro Tools.
llovizna (mists) was written for glass harmonica virtuoso Thomas Bloch who had been in contact with me about the possibility of writing a new work for him. After listening to recordings of his playing I became very attracted to the instrument, its possibilities, and Mr. Bloch’s playing. Soon thereafter I completed llovizna (mists), which I later found out was awarded a first place prize as part of an international competition for new works for the glass harmonica initiated by Mr. Bloch. The title was suggested by the timbres in the work, which for me create an ethereal haze much like one might experience while walking in a mist. The recording on the CD is by glass harmonica virtuoso Thomas Bloch for whom the work was written.
Multiple voices (voces multiples) was written for clarinetist Paul Green (USA) and Joan Pere Gil (Spain) in the summer of 2002. Mr. Green premiered the work in concerts in China that summer and Mr. Pere Gil in concerts in Spain and Latin America during the same time. The title of the work refers to the multiphonics heard throughout the piece. Multiphonics consist of 2 or more notes sounded at the same time and given their unusual nature require a great deal of control from the performer. Alternate fingerings and humming while playing are also used to further transform the timbres of the clarinet. The recording on the CD is by clarinetist Paul Green.
temporal was completed in January of 2006 for premiere at a concert of the composer’s works being presented by the Frost Art Museum in Miami, Florida. The work has subsequently been presented at several international Festivals including the International Computer Music Conference in New Orleans in November 2006 and the International Electroacoustic Music Festival held in Santiago de Chile in October of the same year. temporal was created by making samples of the sound of air as it reverberated inside of a flute, clarinet, and alto saxophone. These samples were then mixed and processed using a variety of software. The title of the work refers to the slowly unfolding nature of the music and the resulting distortion of the perception of time. In addition, it is the Spanish term used to refer to some of the strong tropical storms found in the Caribbean.
cuatro asimetrias (four asymmetries) was written for the Asturias based entrequatre guitar quartet who premiered the work in the fall of 1999 in concerts in Spain and the US. The title refers to my earlier piece for solo guitar, sombras asimetricas (asymmetrical shadows) the basis for the quartet. In the new work variations of the material from the solo guitar piece are superimposed in different ways at times creating phasing as well as antiphonal and other effects related to the physical movement of sound. The recording on the CD is by entrequatre.
Program notes provided by the composer.
About the Performers
Madeleine Shapiro, cellist, has long been a recognized figure in the field of contemporary music. She was the founding director of the internationally known ensemble The New Music Consort and presently directs ModernWorks, an ensemble that performs and commissions recent chamber works. Madeleine performs extensively as a solo recitalist throughout the United States, Europe and Latin America, programming both acoustic and electro-acoustic works, many of which were written for her. She directs the Contemporary Music Ensemble at the prestigious Mannes College of Music. Madeleine is a recipient of two Encore Awards from the American Composers Forum and a Barlow Award, to assist in the premieres of new works, and as director of the New Music Consort, won First Prize in Adventurous Programming awarded by ASCAP-Chamber Music America. Recent appearances include five tours of Italy, including three Guest Artist stays at the American Academy in Rome; Logos Foundation, Belgium; Technosonics at University of Virginia, two appearances at the International Cello Encounter, Rio De Janiero, Brazil and regular appearances in New York City venues such as the Museum of Arts & Design and the Knitting Factory. Madeleine's first solo CD, Electricity: Works for Cello and Electronics was released on Albany Records. Visit her at www.ModernWorks.com
Thomas Bloch lives in Paris. He is a worldwide prominent soloist specializing in the rare instruments (Ondes Martenot, Glassharmonica, Cristal Baschet), a composer and a producer. His performances range from classical and contemporary music to songs, rock, theatre music, opera, improvisation, film music, ballet music. Receiving a First Prize for ondes Martenot at the Paris Conservatoire National Supťrieur de Musique (with Jeanne Loriod) and a Masters Degree in Musicology at the University of Strasbourg, he has performed 2500 times in 40 countries and appears on 100 recordings. He teaches Ondes Martenot at the Strasbourg Conservatoire, he is a musical director for the Evian Music Festival (France) and is responsible for presentations of his instruments at the Paris Musťe de la Musique. Among numerous notable collaborations: Radiohead, John Cage, Gorillaz, Tom Waits, Marianne Faithfull, Bob Wilson, Milos Forman (Amadeus), Michel Plasson, Myung-Whun Chung, Paul Sacher, Roger Muraro, Philippe Sarde, Isabelle Huppert, Manu Dibango, Fred Frith, Phil Minton, Vanessa Paradis...Thomas Bloch gave the first audition of the original version with Glassharmonica from Lucia di Lammermoor (Donizetti) in Milano Scala and has played solo Ondes Martenot for the Warsaw Philharmonic Orchestra centenary. He has awarded by the Classical Music Award 2002 (European critics - Midem, Cannes), The Choice of Gramophon magazine, Best of the Year 2001 in Audiophile, Victoires de la Musique...He is the first musician who played alone the complete Erik Satie's 24 hours piano piece Vexations. Thomas Bloch records for major labels (EMI, Deutsche Grammophon, Sony...) and has produced 10 personal CDs on Naxos.
Clarinetist Paul Green began his musical studies at an early age, and by age 12 he was already studying with the noted clarinet pedagogue Leon Russianoff. A year later, he was recommended to Leonard Bernstein and peforrmed and recorded Saint-Saens’ “Carnival of the Animals” in a Young People’s Concert with the New York Philharmonic. Invited by composer Gian-Carlo Menotti in 1965 to perform at the Festival of Two Worlds in Spoleto, Italy, he played with such artists as Jacqueline DuPre, Richard Goode and Charles Wadsworth. Also in 1965, Green won the Young Concert Artists International Auditions, giving his solo debut in New York in 1966. He attended Yale University, where he studied with Keith Wilson and became Principal Clarinetist of the New Haven Symphony. After receiving a BA in Theory and Composition from Yale, he continued his studies at the Juilliard School, where he studied with Joseph Allard, receiving an MS degree in Performance in 1972. Presently he is a faculty member at Florida Atlantic Universiy and Florida International University, teaching clarinet and chamber music. He is the Director of Klezmer East and the Florida Woodwind Quintet, both ensembles in residence at FAU, a member of the Nodus Ensemble, in residence at FIU and and Principal Clarinetist of the Florida Grand Opera, Concert Association of Florida and Boca Raton Symphonia.
Based in Asturias, Spain, Entrequatre performs both contrasting programs of traditional and contemporary repertoire. They have served as inspiration for many composers, especially Spanish and Latin American composers, and have had numerous guitar quartet pieces written for them and premiered more than thirty. Well known in Europe as soloists and as an ensemble, Entrequatre is Carlos Cuanda, Professor in the School of Music of Llanera; Carmen Cuello, Professor in the Conservatory in Oviedo; Manuel Paz, Professor in the Conservatory of Nalón; and Jesús Prieto, Professor in the Conservatory of Nalón. The ensemble began performing in 1984 and has grown to become one of the most original and established chamber ensembles in Spain's contemporary music scene. The quartet began collaborating with other groups in 1989 when together with the Foundation Principality of Asturias Choir, they gave the first performance of Flores Chaviano's Son de Negros en Cuba, which was based on text from Garcia Lorca, for choir, narrator, small percussion group and guitar quartet. They have performed at festivals worldwide and tour Europe and the U.S. extensively. Their studio work includes recording a solo CD and various programs for Radio Clásica of Radio Nacional de EspaĖa and Radio Budapest. More recently the ensemble began an important collaboration with the Latin American String Quartet focusing on the commissioning and performance of new music for guitar quartet and string quartet by composers from Spain and Latin America.
Mixing and final master recording by Paul Griffith completed on June 26, 2006 at the studios of the University of Miami; produced by Orlando Jacinto Garcia.
Cover art by Jacek Kolasinski.