Search results for: 'ian lester'

with Piano

In Memoriam was written in 2017 in memory of my aunt Janice Lester, who passed away from early onset Alzheimer’s the previous year. As the disease progressed, many memories and people faded from her mind, however, her love of music never went away. She always adored hearing me play slow melody pieces on my euphonium, and even in the late stages of Alzheimer’s, her eyes lit up as I played various works at her bedside in the assisted living home. Here, I attempt to convey her love of melodic writing along with the beauty of her kind, loving personality.

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Three Episodes for Brass Quintet is a three-movement work that utilizes the theme "Renewed, Reused, Recycled” in various ways. The first movement "Kaleidoscopic Fanfare" is organized into four parts, each one represents the various abstract shapes and colors that are transformed and manipulated with each twist of the kaleidoscope. The second movement "Daydream" is a brief departure from mundane life, where recurring fantasies and memories forever exist in the mind. The final movement "Evil in the Mist" is loosely inspired by films such as The Fog and The Mist. This movement begins where the first movement ended, journeying deeper into an ominous unknown. While there are brief upbeat moments of light and clarity, the movement ultimately ends still lost in the sinister mist. Learn More

About the Work

 

Energy Suite was written for the University of Missouri - Kansas City's Graduate Fellowship Brass Quintet Volker Brass as part of the 2021 UMKC Fellowship Ensemble Composer-in-Residence program. The work consists of four distinct sections, each representing a form of energy:

1. Mechanical – Intricate rhythmic patterns and constantly changing meters create a driving groove in this first section.
2. Radiant – In this slow segment, smooth melodic lines and extensive polyrhythms result in a flowing and dreamy atmosphere.
3. Kinetic – Beginning with the main ostinato in the trumpets, the music continuously propels itself into the last few measures, where the section suddenly ends right where it began.
4. Nuclear – The epitome of raw, destructive power, “Nuclear” features the tuba and trombone, with a robust Bruckner-inspired melody and solos that bring the piece to a powerful to an explosive end.

 

Performance Notes

 

1. The following metric groupings apply to all corresponding measures in the “Mechanical” section:

• 9/8 measures = 3+2+2+2
• 8/8 measures = 3+3+2
• 7/8 measures = 3+2+2

2. In “Mechanical”, the rests in mm. 71, 73, 75, 77, and 79 should be treated as timed and metered moments of silence.
3. The portamentos in “Kinetic” are quick, spark-like figures that should be performed as half-valve glissandi up to the player's highest solid note (exact pitch on both the lower and higher notes are not important in this context).

 

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Four Personalities was commissioned by David Saltzman and the Bowling Green State University tuba and euphonium ensemble in 2019. The work consists of four movements, each one representing a different personality or affection:

I. Empathetic – Lush and peaceful, this movement represents someone who always there to help and comfort others, even if it is at the expense of their own health and wellbeing. The first euphonium is featured with a plaintive introductory first melody and an emotion-driven second one that soars above the ensemble.

II. Twisted – A more cynical and maniacal section that blazes along with an aggressive main motive in mixed meter and winding rhythmic passages that snake throughout the ensemble. This movement represents the worst of humanity.

III. Pleasant – A meditative, Debussy-inspired tuba solo, this movement represents a thoughtful, kind, and patient individual. Lightly scored quintal and quartal accompaniment set the scene for the solo tuba, which provides easy-going and contemplative melodic lines that fluctuate between an introspective, quieter mindset and a more extroverted and welcoming one.

IV. Night Owl – Consisting of a rhythmically driven fast introduction, a rapid-fire dance featuring the first euphonium, a slower, reflective section with additive texture, and a return to the dance material, this final movement represents the hyper insomniac who goes for joyrides at 3:00 AM on the empty, misty city streets.

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Concerto for Tuba No. 1 for Tuba, Drum Set, and Piano was written for Thomas Stein, professor of tuba and euphonium at the University of Missouri-Kansas City. Each of the four movements is given a one-word title which sets the tone for the corresponding movement: Flowing, Dance, Smoke, and Festivities. The first movement sways between several themes including the main “flowing” material and a heavier, eighth note motive that morphs into a buoyant, jazzy groove. The second movement conveys a light-hearted dance, yet there is a stern, ominous undertone always lurking in the shadows. The third movement brings the listener to the 1920s with the performers creating a smooth atmosphere in an era full of intrigue and mystery. The final movement is a non-stop, chaotic ride that gains momentum through groovy syncopations and off-kilter beats. The tubist brings the piece to a rapid-fire close with a head-banging cadenza and the return of the original thematic material. Learn More

Eternal Light was composed in 2020 in hopes of providing optimism during one the darkest and most tumultuous times the world has ever seen. This work for tuba quartet features interlacing warm melodies between the two euphoniums with constant support from the two tubas. Learn More

Persevere and Rebuild, for the Sun will Rise Again was written for the 2020 ‘When Tuba Come One’ International Composition Competition, where it received an honorable mention and will be recorded on the When Tuba Come One Quartet’s upcoming CD in 2021. Dedicated to all of healthcare workers working on the front lines of the COVID-19 pandemic, this composition begins with a gorgeous slow section before shifting into faster, more optimistic territory, in which the two top voices are featured in rapid-fire solos. The tubas then provide a brief, thoughtful soli, where a temporarily calm heartbeat can be heard. The work ends with a driving, jubilant finale reminiscent of British brass band and Salvation Army band music. Learn More

EEETTT; Centralia is a work for tuba/euphonium sextet that is inspired by Centralia, PA - an old mining town that has had a fire burning underneath the municipality since 1962. The original cause of the fire is still debated. There are caution signs posted around the city warning of the risks of walking or driving through the town, as the ground is considered unstable above the blaze. As of 2017, Centralia has a population of five, making it a barren ghost town which some consider a gateway to hell itself. Learn More

with electronics; Light Years Away is a work for solo trombone and fixed media that is the result of my ever-growing desire to expand my compositional horizons. I wrote this work in 2016 during my undergraduate studies at Oakland University in Rochester, Michigan. I knew right off the bat that I wanted to write something space themed and I ended up deciding on trying to convey the flood of emotions and adrenaline astronauts probably feel as they blast off from earth in a shuttle. The work revolves around an energetic syncopated quarter note and eighth note motive first stated by the soloist in their first entrance, expanding as the piece progresses, before exploring an exhilarating B section. A brief Cadenza leads into more new material before ending with a thrilling reprise of the original theme. Learn More

With Fixed Media: Written In 2019 for SSG Irving Ray of the United States “Pershing’s Own” Army Band and premiered at Sam Houston State University in February of 2020, Neon Dream is a work for solo euphonium and Fixed Media/CD. It draws inspiration from laser tag arenas and attempts to convey the excitement and adventure that comes with them, as well as the nostalgia experienced by adults who grew up going to these establishments. The piece is divided into six parts, each dealing with a particular aspect of laser tag or term associated with the activity. Learn More

unaccompanied; INTO THE MADHOUSE attempts to loosely reflect the sporadic spectrum of mood changes, manic episodes, despondent thoughts, and other struggles experienced by an individual with Bipolar 1 Disorder. Learn More

with Piano

for the Conviviality Trio...

Theme and Variations on a Childhood Dream

Moonscapes was written in 2019 for the Conviviality Trio based out of Ann Arbor, Michigan. The work is programmatic theme and variations, following the fictional story of a boy who dreams of flying to space with his best friend to defeat an alien determined to destroy humanity. After the theme is introduced at the beginning, there are four variations, each portraying a different scene from the dream: “Weightless” depicts the feeling of floating in space. “Nightmare Fuel” represents a battle between the boy and the other-worldly foe. “Necessary Sacrifice” describes the death of the best friend, who sacrifices himself in order to help defeat the alien. Finally, “Victory!” depicts the boy returning to earth as the planet-saving hero even though he still feels the pain of losing his comrade.

 

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with Piano

Sonata No. 1 is a challenging, extended work for euphonium and piano. The first movement is a joyous and fast-paced study of the technical abilities of the euphonium. It is largely based off syncopations involving eighth and sixteenth notes, varied throughout the movement through sequencing, slight changes within the main motive, and changes in harmonic structure.

The second movement draws inspiration from the feeling of utter hopelessness that comes from losing a loved one. I tried to capture this bleakness with an almost drone-like euphonium and piano part that for the most part stays stagnant, but slowly builds up to a climax of despair.

The last movement is a tour-de-force that cycles through two separate themes before coming to a sudden tranquil section. This section is set by an ethereal piano progression soon joined by a flowing melody in the euphonium. A euphonium cadenza leads back into the original theme to close the piece.

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Grind was written for the UMKC tuba and euphonium ensemble in late 2018 and is meant to represent the constant moving and turning of clock gears. The piece begins with the first tuba introducing the rhythmic foundation with the rest of the ensemble joining in to create a driving composite rhythm. Brief moments of jarring interruptions slice through the otherwise subtle material. Euphonium and tuba features follow, with the lyricism of the two instruments being showcased. A powerful triple-forte segment then transitions into a tranquil, chorale section led by the tubas. Quick fragments of the original material lead into a recapitulation of the beginning that slowly diminishes until the clock ceases to tick. Learn More

For Euphonium and Fixed Media (electronics), “Necroterror” was inspired by the synth-heavy soundtracks of 1980's zombie movies. I have always been a fan of horror movies and the soundtracks that help bring them to life. The first one to grab my attention was George A. Romero's Day of the Dead (1985). This is my homage to horror movies along with George A. Romero, who passed away in 2017. Learn More

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with Piano Three Sketches for Euphonium, Tuba, and Piano was written for the Conviviality Trio based out of Ann Arbor, MI. Non-programmatic and serious in nature, the work is divided into three distinct movements that feature all instruments prominently. The first movement begins mysteriously, struggling to find balance between joy and sorrow. The tension builds harmonically and dynamically into a brief yet powerful fast section. After a reprise of the original material, the piano rips into rapid octave jumps which begins the "Aggressively" section, which puts the technical abilities of all three performers on full display. The movement ends with the original material making one last return. The second movement begins with a slow, jazzy noir-like atmosphere set by the pianist before the tuba and euphonium enter, echoing each other throughout. A solo section follows, emphasizing the low register and the lyrical capabilities of the euphonium. The movement ends with a hypnotic back-and-forth progression between the three performers that diminishes to nothingness. The last movement again puts the technical capabilities of the performers on display. Beginning with several mixed-meter runs, the movement evolves into a tour de force finale that includes long, rapid runs in the piano and tuba and euphonium melodies in fourths. Learn More

This work was inspired by the following Arthur C. Clarke quote: “Two possibilities exist: either we are alone in the Universe or we are not. Both are equally terrifying”. To portray this ideology through music, the piece begins with an otherworldly power chord that leads into the main sixteenth-note motive, which was conceived after an evening of experimentation and improvisation on euphonium and loop pedal. It is followed by a brief euphonium solo and an aggressive section interrupted by brief moments of cinematic melodies. An imitative section and a bell-tone filled transition fly us back to the finale which consists of new and old material from the aggressive section. Learn More