- Marseaya (1993)
-
Rahilia Hasanova
for flute, oboe, clarinet in Bb, bassoon, string quartet, piano, and chorus
ca. 15'35"
- Pirebedil (1996)
-
Rahilia Hasanova
for oboe, clarinet in Bb, bassoon, French horn, percussion, strings, piano, and voice
ca. 26'58"
Pirebedil is a name of a group of old ancient Azerbaijani carpets which are well known by its special authentic symbols. Each symbol represents a certain meaning that is a part of a large puzzle. Being aware about these meanings one can read the Pirebedil as a text. These amazing hand crafted carpets uncover forgotten stories and legends.
Pirebedil was commissioned and performed by New Ensemble, the Netherland in 1996.
Click here to listen to the recording.
- Lullaby of the Stars (2003, rev. 2015)
-
Rahilia Hasanova
for orchestra
ca. 7'00"
The golden-eyed stars, gently ightning the skies,
Sounding orchestra-like, attacking, breathing, and vibrating,
They're lullabying for the sleeping earth...
But as the morning star's awakening a down,
Conducting them to fade through nights and constellations,
The golden-eyed stars are vanishing and melting in the heavens...
The earth continues to sing for them her lullaby:
It's time to sleep for golden-eyed stars.
- Rahilia Hasanova
The first version of Lullaby of the Stars (Ulduzlarin Laylasi) was written for chamber orchestra in 2003 and premiered at the Organ and Chamber Music Hall in Baku, Azerbaijan in 2003.The second version of the Lullaby of the Stars (renewed for Symphony orchestra in 2015) was performed at the Nasimi festival of Art and Music on October 1, 2019 at the Center of Geydar Aliyev in Baku, Azerbaijan. Imadeddin Nasimi is the greatest Sufi poet, philosopher of 14 century well known by his revolutionary writings and progressive creation of mystic pantheistic doctrine.
Video is recorded by Azerbaijani TV Performers: Baku State Philharmonic Orchestra Conductor: Mustafa Mehmandarov Stage director: Aleksey Smirnov.
Click hear to listen to the recording.
- Yurt (2013)
-
Rahilia Hasanova
for orchestra
ca. 8'46"
- First Symphony (1976)
-
Rahilia Hasanova
for orchestra
ca. 21'00"
- Eos-Helios (2013)
-
Rahilia Hasanova
for orchestra
ca. 15'30"
Click here to listen to a YouTube recording of this piece.
- Leaning Into and Away (1994)
-
Eleanor Hovda
for flute, oboe, clarinet in Bb, percussion, piano, and string quartet
ca. 12'51"
Commissioned by the Cuicani Orchestra Project, with support from the US/Mexico Fund for Culture
Dedicated to the memory of Manuel Enriquez
I use the title Leaning Into and Away because the piece grew out of many thoughts about and experiences dancing and making music for dancers. I found myself focussing particularly on the energies of running on the ground and leaping into space, and the flow of energy involved in any physical moves from balance to suspension. I also wanted to work with the idea of excavating sounds from the bone and sinew of piano, wind, string, and percussion instruments – as dancers draw energy from deep inside their bodies.
Click here to view the performance notes.
Click here to hear a recording by the Prism Players on Spotify.
- Snapdragon (1993)
-
Eleanor Hovda
for flute, oboe, Bb clarinet, bassoon, horn in F
Commissioned by the Holland Festival for the Nederlands Blazers Ensemble
Snapdragon is written for the Nederlands Wind Ensemble, and was completed on May 19, 1993. I use the title Snapdragon because it refers to a game** where raisins are snatched from burning flames. I wanted to work with extremes of energy (from relaxed to intense-but-inward, to most extroverted, flung energy). I also wanted to work with the idea of excavating sounds from the bone and sinew of wind instruments: the expansions of single pitches, either fingered or otherwise altered, which can happen when extremes of breath control, additions of auxilllary keys and alternatve fingerings are used. I imagine the energy of watching the flames and then swiftly snatching at the raisins. I imagine the energy of both participating in the game and watching the action.
**a Victorian-era game played during the winter, particularly on Christmas eve
Click here to hear a recording by the Prism Players on the Eleanor Hovda Collection CD (Spotify).
- Fields (1987)
-
Eleanor Hovda
for orchestra
ca. 16'00"
This piece was performed by the BBC Scottish Symphony Orchestra with Principal Guest Conductor Ilan Volkov on Thursday 21 October 2021 at the Glasgow Royal Concert Hall.
Click here to view the score and listen to the recording.
- Traces (1990)
-
Eleanor Hovda
for english horn/oboe and electric bass
- Cheetah (1992)
-
Eleanor Hovda
for flute, oboe, Bb clarinet, bassoon, viola, electric bass, percussion
Cheetah is written for Relache, and was completed on December 24, 1992. I have used the image of cheetahs for several reasons. I wanted to work with extremes of energy (from relaxed to intense-but-inward to most extroverted, flung energy). I also wanted to work with the idea of excavating sounds from the bone and sinew of acoustic instruments: the expansions of single pitches, either fingered or bowed, which can happen when extremes of breath control, additions of auxillary keys and alternative fingerings (winds) and larger spectra of bowing techniques and placements (strings) are used. Cheetahs are said to be the fastest animals on earth when they run, but their sprints are very short. The rest of the time they spend recovering from their runs or preparing for the next dash by scoping out the landscape with intense focus, from stationary positions or by prowling. I imagine an enormous amount of energy and motion in the stillness flowing from them during these periods of intense focus.
- Borealis Music (1987)
-
Eleanor Hovda
for flute, oboe, bassoon, piano
ca. 10'30"
For the Sylmar Chamber Ensemble
Commissioned by the MCF/CCP Program funded by the Jerome Foundation
Borealis Music suggests energy which moves but doesn't go anywhere. The Aurora Borealis is seen as curtains or ribbons of active energy, but not a travelling form. There is also the perception of the aurora being a series of super-imposed "after-images" – the idea that what is seen is the resultant of a field of reflected/refracted electrical impulses.
The energy fields are achieved by introspective probings of the "sound around the sound" of strings and winds. Sonic ribbons emerge, and lengths of time taken to excavate and articulate resonance fields.
An important aspect of performance is to be able to work with very soft dynamic levels with intense concentration and energy. A theatrical metaphor is the Noh drama of Japan, where the slow unfolding of infinitesimally distilled material serves to heighten and sustain focus and attention.
- Onyx (1991)
-
Eleanor Hovda
for chamber orchestra
ca. 13'45"
This piece was commissioned by the Lake Superior Chamber Orchestra.
This project was supported in part through funding from the Minnesota State Arts Board and the National Endowment for the Arts.
Click here to view the score with composer's notes.
Click here to view the score with conductor's notes.
- Hollows (1985)
-
Eleanor Hovda
for flute, oboe, bassoon, violin, and cello
For the Sylmar Chamber Ensemble, with gratitude to the McKnight Foundation
This piece is a very introspective probing of "the secret life" of the winds and strings. It resonates hollow places and takes long lengths of time to excavate and articulate the "sound around the sound."
- De Laguna (1991)
-
Mercedes Otero
for mezzo soprano, flute, oboe, harp, and contrabass
ca. 16'15"
The poems used in “De Laguna” are from the book Laguna, by Alberto Arvelo Ramos, a contemporary Venezuelan poet. Translations by Mercedes Otero.
- Devil's Punchbowl (1993)
-
Lois V Vierk
for orchestra
ca. 11'30"
This piece was inspired by the twisted sandstone canyon in the southern California high desert in Angeles National Park called "Devil's Punchbowl". At this exquisite site you are always aware of both extreme beauty and also danger. Descending into the canyon the trail is rugged, rocky, and treacherous, and the heat is scorching. But rising up from the deep gorge are steep, magnificent mountains with their cold streams and sweet-smelling pine trees. The vistas are grand. Far in the distance, soft shapes and hues of the landscape melt into one another.
Devil's Punchbowl unfolds slowly. Musical materials are constantly developed, pushing the work forward from a relatively simple beginning to its dynamic and colorful climax. The piece opens with languorous brass slides downward. String phrases answer the brass, and woodwinds add color and wisps of melody. Gradually the strings begin their long ascending glissando, sweeping the woodwinds up to their highest register, ending the first section.
Immediately strings and low woodwinds enter with agitated multi-color, ever-changing trills and tremolos. Various instruments combine to form sinewy melodic shapes which creep slowly upward. Percussion becomes more pronounced. Brass adds rhythm and harmony. Each phrase builds on the one before as, little by little, the music becomes faster, louder, and rhythmically emphatic. Trombones and celli playing fortissimo glissandi in the lowest register propel the piece to its full orchestral climax. After the high energy of the climax the music returns briefly to the lyrical mood of the opening, ending gently.
Devil's Punchbowl was commissioned by the Bang On A Can Festival and the Roanoke Symphony Orchestra. The commissioning of this work was made possible by a grant from the Meet The Composer/Reader's Digest Commissioning Program, in partnership with the National Endowment for the Arts and the Lila Wallace-Reader's Digest Fund.
The recording of Devil's Punchbowl is of the premiere, given by Victoria Bond conducting the Roanoke Symphony Orchestra on March 21, 1994. They performed the piece beautifully.
Below are two versions of the score. First is the final version, incorporating several sets of edits to the orchestration made after the premiere and over subsequent years, and which is dated 2009. The major changes to orchestration, emphasizing an expanded role for trombones, etc., are marked above the staves of the score.
The second is the original score as used by Victoria Bond in 1994 (with numerous indications marked for my first set of edits).
Click here to view the revised score and listen to the recording.
Click here to view the original score and listen to the recording.