Insights From Composers

 

Eric Ewazen

Eric Ewazen's music has been performed by major chamber ensembles, wind ensembles and orchestras throughout the world. His music for brass instruments have become staples of the repertoire. His music for wind ensemble includes "A Hymn for the Lost and the Living", an In Memoriam for 9/11, "Southern Landscapes", commissioned by the South East Conference of U.S. Bands, "Shadowcatcher", a concerto for Brass Quintet and Wind Ensemble, recorded by the American Brass Quintet and the Juilliard Wind Ensemble, "Legacy", written for the Bi-Centennial of West Point, "Flight" written to celebrate the 100th anniversary of powered flight for the Heritage of America Band at Langley AFB, "Visions of Light", a concerto for trombone and band for Joseph Alessi and the Indiana University Wind Ensemble, commissioned by IU and Midwest and "Danzante" a concerto for trumpet and band, commissioned by CBDNA for Allen Vizzutti. His music is published by Southern Music Company, and can be heard on recordings on labels such as EMI Classics, Albany, Well-Tempered, New World, Hyperion, Helicon, d'Note, Resonator Records and Summit. Receiving a BM from Eastman, and MM and DMA degrees from Juilliard, He has been a member of the faculty of The Juilliard School since 1980.

Adam Gorb

Adam Gorb (born in 1958) studied Music at Cambridge University and Composition at the Royal Academy of Music in London. He has written pieces for a wide range of instrumental and vocal forces. His compositions for wind ensemble are performed worldwide and have had numerous recordings. Notable works include Metropolis which won the Walter Beeler Memorial Prize in the USA in 1994, Awayday and Yiddish Dances which are in the repertoire of wind ensembles throughout the world and Elements, a Percussion Concerto for Evelyn Glennie and the Royal Northern College of Music Wind Ensemble. Recent works include Downtown Diversions, a trombone concerto premiered by the Texas Tech Wind Ensemble in 2001, Towards Nirvana, which was first performed by the Tokyo Kosei Wind Ensemble in October 2002 and Dances from Crete premiered in London in November 2003. Adam Gorb is Head of School of Composition and Contemporary Music at the Royal Northern College of Music.

Ito Yasuhide

Ito Yasuhide, born in Japan, wrote his first band composition "On the March" (1978; published by TRN) in 17 years old. He majored in composition at the Tokyo National University of Fine Arts and Music. He is well known for more than 60 band works, including the famous 'Gloriosa' and 'Festal Scenes'. Many of his works for wind instruments have been published and performed throughout the world. Recently he has dedicated his talents to vocal music composition and has written over 150 works. His first opera, 'Mr. Cinderella' (2000) received high acclaim making a great impact among followers of Japanese Opera.

Besides his career as a composer, he is also a well-known pianist, and has co-starred with many leading players. As a conductor. He has performed with many bands, including the Tokyo Kosei Wind Orchestra, in their 'Asian Concert Tour 2002', on behalf of maestro Frederic Fennel. He is also active as a board member of JBA (Japanese Band Directors Association), and a lecturer at Tokyo National University of Fine Arts and Music and Senzoku Gakuen College of Music.





Insights From Composers
12th July 2005 (10:45am to 12:15pm)

Excerpt from Eric Ewazen on his topic:

Adding to the Wind Ensemble Repertoire with variety, imaginiation and musical expression is an exciting pursuit of today's composers. In the grand scheme of musical history with the wind ensemble being a relative newcomer to the important musical ensembles for which composers write--it is important to add significant repertoire for them, to explore their unique colors, to focus on the instruments which are distinctive to their sound, and to challenge the performers technically and musically--to help them grow. There are limitless possibilities for composers to explore--making writing for this ensemble all the more exciting.

Excerpt from Adam Gorb on his topic:

Here are my thoughts as a composer:

  1. Do I write exactly what I want, or do I consider the band that I'm writing for? Is it possible to do both?
  2. How important is it to consider the future life of a new work beyond the first performance?
  3. Writing simpler music for school and youth ensembles - the composer as educator.
  4. Light music against serious music, keep styles separate or bridge the gap?
  5. The Wind Ensemble and the Symphony Orchestra; advantages and disadvantages of both mediums.
Excerpt from Ito Yasuhide on his topic:
  1. My thoughts on composition:
    Am I required to write contemporary music as a contemporary composer? Is it my mission to write "Japanese-like" music as a Japanese composer? But what is "Japanese-like" any way?
  2. Possibility of Wind ensemble addresses the following:-
    • Possibility and limitation of instrumentation for wind band.
    • Possibility of wind instruments in Orchestra.
  3. Composers and performers.
    Composers are not necessarily good performers on their own works. On the other hand, performers are not always able to express composer's real intention. The analysis is essential for performance, however it must also include the composer's point of view.