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Premières - Concert of New Music

June 6 at 8 p.m.

Adults: $12, Students/Seniors: $9
Tickets are available at the door only.

Contrasts and Conflicts

by Michalis Andronikou

Matthew Blackburn, piano

Contrasts and Conflicts (2014), is a humorous musical approach of the emotional situation that an immigrant experiences in his every day life…

Old Shaman

by Ilkim Tongur

Lacie Marchand, alto saxophone
Ilkim Tongur, piano

Old Shaman (2013) depicts the invocation of an old shaman who wants the pain in his world to end. The old shaman sings his cry and his plea through alto saxophone as piano maintains the narrative for the landscape.


by Alyssa Aska

Edmond Agopian, violin
Alyssa Aska, electronics

Lü-Dream of Light

by David Eagle

Stan Climie, bass clarinet
David Eagle, sound file

Lü-Dream of Light (1996) is the opening composition to one thousand curves ten thousand colours, a collaboration with Hope Lee, bringing together acoustic and electroacoustic music and projected animated images.

Unremembered Soundscapes: Musical Images of Iran

by Ali Nader Esfahani

Edmond Agopian, violin
Stan Climie, bass clarinet
Matthew Blackburn, piano
Ali Nader Esfahani, electronics

Unremembered Soundscapes is a large multi-movement work for a mixed chamber ensemble of violin, bass clarinet and piano, along with live and pre-recorded electroacoustic music, consisting of sound objects and soundscapes from traditional Iranian social contexts. It is in five connected movements each based on one of the traditional Iranian professions.

The first movement, “A Tapestry of Glass”, is based on the Persian art of carpet weaving. Sounds related to this activity, such as the sound of the warps and wefts or map-reading, serve as the sound material for the electroacoustic part, whereas the graphical design of the carpet inspires both the macro and micro musical structures.

“A Curl in Ink” reflects on the Persian art of calligraphy. In this movement one can hear seagulls and other creatures that seem to be hidden in the sound of a reed or bamboo pen on a glossy paper.

The third movement, “A Fluff of Smile”, draws upon sounds and actions involved in two of the old Iranian professions, cotton-fluffing and felting. The chant of a cotton-fluffer riding the alleys on his bike searching for costumers, or the resonant sound of his bow-shaped fluffing tool constitute the sonic material for this movement.

The sounds in the fourth movement, “A Breath of Tea”, come from the soundscapes of traditional Iranian teahouses, like the sound of the samovar, the bubbling ’qalyawn' or hookah, and the 'estekawn nalbekee', a small glass teacup and saucer.

The last movement, “Dust of Aged Hands”, makes use of the sounds of etching and coppersmithing, that were recorded in an aged bazaar in Isfahan that has been in decline over the past few decades.