- Four Mozaics (2022)
-
Linda Dusman
for Bb clarinet and piano
ca. 7'00"
Click here to see the score and listen to the recording.
- Dreaming Fire, Tasting Rain (1995-96, rev. 2024)
-
Anna Rubin
5 instrument version for flute (piccolo), clarinet in Bb (bass clarinet), violin, cello, and piano
6 instrument version for flute (piccolo), clarinet in Bb (bass clarinet), violin, cello, piano, and percussion (vibraphone)
ca. 10'30"
Dreaming Fire, tasting Rain was originally written while I was working on my Ph.D at Princeton University. The Nash Ensemble of London premiered the work at Princeton. The 6 instrument version includes percussion and is intended for performance by the Ruckus Ensemble at the University of Maryland Baltimore County. The images of fire and rain translated into a variety of musical textures – sometimes serene and sometimes jagged and thorny. In the opening, heterophonic or layered melodies surge and then subside. A middle section begins with the lonely sound of the piccolo against spiky cello pizzicati and then builds to a driving pulsed rhythm, intensified with percussion. The music then eases into a lyrical cello melody against a background of rolling piano chords and flute and violin countermelodies.
The 5 instrument version has been performed at Oberlin College Conservatory, the University of Maryland Baltimore County, and the Heidelberg College Festival of Women.
The 6 instrument version of the piece premieres in 2024 at the University of Maryland Baltimore County.
Click here to view the score and listen to a recording for 5 instruments.
Click here to view the score for 6 instruments.
Click here to download all performance materials.
- Chiaroscuro (2016)
-
Anna Rubin
for concert wind ensemble
ca. 9'28"
Chiaroscuro was commissioned by Dr. Brian Kaufman, director of the University of Maryland, Baltimore County Wind Ensemble in 2016. The term 'chiaroscuro' is a term used in painting to refer to the dramatic treatment of light and shade. I exploit the many colors of wind, brass, percussion and piano to contrast and blend with each other. The piano in particular adds a brilliant coloristic component. The piece is highly rhythmic and builds to a rollicking climax where the full power of the brass section holds sway. The surprise ending is gentle, highlighting the upper winds.
The piece is recorded on Albany Records entitled Filtering, published in 2020.
Click here to view the score and listen to the recording.
Click here to download all performance materials.
- De Nacht: Lament for Malcolm X (1983)
-
Anna Rubin
for soprano, flute, oboe, Bb clarinet, bassoon, horn in F, piano, violin, viola, violoncello, and contrabass
De Nacht was written while I was studying in Amsterdam with Ton de Leeuw in 1983. I composed it for a competion run by the Delta Ensemble and was awarded first prize. I assembled the text, which is an impressionistic collage drawn from several sources including Near Eastern mythology and Malcolm’s X’s own life. Words from several languages are used. I was very influenced by the mythological works of Joseph Campbell and his concept of the hero’s journey. The piece is in two broad sections. Melodic fragments are set against fast, pizzicato and staccato accompanimental figures in the first part. It builds to a dramatic climax and is followed by a serene closing section which is a setting of a Hawaaian creation song.
At a time when the earth was hot,
At a time when the heavens turned about,
At a time when the sun was darkened to cause the moon to shine,
The slime, the source of the earth, the source of the night, that made the night,
Intense darkness! The deep darkness, the darkness of the sun, darkness of the night, the night gives birth.
The piece premiered at The Icebreaker (Het Ijsbreker), Amsterdam, in 1983 was performed several times after by the ensemble.
- Pendulum Clocks (2014)
-
Rahilia Hasanova
for soprano, baritone, percussion, bass clarinet, and clarinet in A, Bb, and Eb
ca. 56'16"
A kitchen lives by its own life even when nobody is home. It breathes, smells, yawns, flinches, claps, and snaps...and listens to... If only you are in your kitchen you are not alone. Your kitchen always has an encrypted dialog with you. If only two of you in the kitchen you are three of you, not two because your kitchen accompanies all your conversations. And keep in mind that your kitchen, where you usually have all your vitally important discussions is not your friend at some point. The kitchen likes a justice. If you are going to tell something to somebody start your conversation from far away. Choose any topic that would not relates to a subject of your previously planned conversation. For example, a long analysis about the history of the evolution of clocks... pendulum clocks! Magnetize! Make a magic! Win! Note that at 40.30 - 41.50 the stage suddenly darkened. Unfortunately the video cannot gives the real sparkling motions that accompany this scene on the stage during live performance.
Opera for two performers, Pendulum Clocks was premiered at the UMBC festival of contemporary music LIVEWIRE-10 on October 26, 2019.
Libretto by Rahilia Hasanova
Performers: Susan Botti, soprano and Gleb Kanasevich, clarinets
Recording engineer: Alan Wonneberger
Click here to watch to a video of the performance on YouTube.
Click here to view the libretto.
- Zilli (2013)
-
Rahilia Hasanova
for woodwind reed quintet
ca. 8'28"
- The Mystical Moon (2010)
-
Rahilia Hasanova
for orchestra
ca. 10'00"
- Vernee (2010)
-
Rahilia Hasanova
for chamber orchestra
ca. 15'50"
- The solitary voice (1979, rev. 2008)
-
Rahilia Hasanova
for orchestra
ca. 12'00"
Everything in Life is Vibration (Albert Einstein). Everything has its own unique vibration, frequency, and sound. It means everything has a unique voice that is an expression of its vibrations and frequencies. Everything...snowflakes, crystals, flowers, take on their shapes according to their particular vibrations and responding to multiple vibrations, sounds, and voices of the universe. The universe is a choir of the myriad of voices. Each voice has to find the shape and expression to resonate with the universe. Each voice, if it is out of the connection with the choir of voices of the universe, is the solitary voice.
The Solitary Voice was premiered by the symphony orchestra of University of Maryland Baltimore County on November 22, 2015. Conductor: E.Michael Richards
Click here to listen to the recording.
- Solar Winds (2016)
-
Rahilia Hasanova
for woodwind quintet
ca. 14'00"
- Second Symphony (1977)
-
Rahilia Hasanova
for orchestra
ca. 19'00"
- Se'maa (1994)
-
Rahilia Hasanova
for flute, oboe, clarinet in Bb, percussion, guitar, harp, piano, strings
ca. 16'20"
My composition Sema'a, for the large ensemble, is not an illustration of dancing dervishes. Sema'a is my thoughts about the mankind circling destiny, about the motivation of the nature to create, variate, and circle forms and circumstances again and again. Sema'a is my pray for humanity and my hope.
Sema'a was commissioned by the Nieuw Ensemble, the Netherlands and premiered in Amsterdam, Utrecht, and Hague in 1994. Conductor: Ed Spanjaard
Click here to listen to the recording.
- Sajda (2006)
-
Rahilia Hasanova
for chamber orchestra, soprano, and tenor
ca. 35'00"
- The Pulse (2012)
-
Rahilia Hasanova
for clarinet in Bb, violin, and piano
ca. 8'56"
Pulse represents the birth of the rhythmical patterns through variations of beats and accents. The mixture of melodic intonations, timbral colors, and gradually growing dynamical intensification creates entirely the pulse of this extraordinary composition.
Performers:
Gleb Kanasevich, clarinet
Airi Yoshioka, violin
Ina Mirtcheva, piano
Click here to listen to a recording of this piece.
- 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.
- Javidi-Dastgah (2001)
-
Rahilia Hasanova
for flute, bass clarinet, percussion, chorus
ca. 60'00"
- Pazyryk (2014)
-
Rahilia Hasanova
for septet
ca. 10'45"
- 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.
- Khazri-Gilavar (2012)
-
Rahilia Hasanova
for clarinet quartet and percussion
ca. 7'44"