Brian Koenig
composition
Graduate Recital
Thursday, February 21, 2013
7:30 pm
Organ Hall, Music Building
Program
Journal of Dreams (2011) Brian Koenig
I. Anticipation (b. 1980)
II. Nebulosity
III. Pavor Nocturnus
IV. Dissipation
Ronnal Ford, oboe; Catherine Keen Hock, clarinet;
Trevor Bumgarner, bassoon; Trevor Davis, bass clarinet;
Xin Gao, alto sax
Y Lead (2012)
Brian Koenig, electric guitar
Into the Unknown (2012)
Beyond the Unknown (2012)
Stephanie Schmidt and Elena Nezhdanova, piano;
Anna Baker, violin; Michael Ptacin, percussion
Conversations Over Coffee (2013)
I. Alpha Tandem
II. Race With Gypsy on Croatian Highway
IV. Time For a Symposium
Brian Koenig, acoustic guitar; Steven Landis, bass
Transcension (2012)
Angela Bullard, flute; Catherine Keen Hock, clarinet
Ben Crouch, alto sax; Xin Gao, tenor sax
Michael Ptacin, percussion; Walt Lott, piano
Brian Koenig, electric guitar; Anna Baker, violin
Charlie Rasmussen, cello; Steven Landis, double bass
Tim Ellison, conductor
Brian Koenig is a student of Dr. Alejandro Rutty and Dr. Mark Engebretson
________
In partial fulfillment of the degree requirements for the
Master of Music in Composition
Journal of Dreams
I. Anticipation. The type of restless and jumpy half-dreaming that occurs before a big
day due to excitement or dread.
II. Nebulosity. A cloudy and hazy dream. Everyday things and places are distorted
and surreal.
III. Pavor Nocturnus. Night terrors. Intense nightmares characterized by excessive
movement, open eyes, and talking all without really waking up. Context of reality is
lost as a very real rush of adrenaline is a reaction to an unreal dream.
IV. Dissipation. A deep and dreamless rest settling in around daybreak. All dreams
disappear with the end of sleep, only random fragments and memories remain.
Y Lead
The time-based effect delay is typically used to add space and ambience to a sound.
Here, different combinations of delay types and settings create textures and more
complex lines in the style of guitarists such as Andy Summers, Robert Fripp and the
Edge of U2. Certain minimalist textures a la Steve Reich can also be approximated in
real time without the use of tape or playback. The macho, technique-fueled approach
to the electric guitar solo is eschewed in this case for a more finessed approach that
requires perfect timing and rhythm.
Into the Unknown & Beyond the Unknown
In preparation for a summer composition workshop in Croatia, the task at hand was
to flex some creative muscle via violin, percussion and two people playing one piano.
Into the Unknown starts in the fog and slowly comes into focus with agile melodies,
unpredictable rhythms, and off kilter unison patterns all flavored with hints of
Eastern Europe and Dream Theater.
The companion piece Beyond the Unknown further explores this instrumental ensemble
while introducing vibraphone as an additional melodic resource. Any highly
anticipated event or adventure is often coupled with a sense of deflation or sadness
upon completion with a return to everyday life. This feeling eventually gives way to
nostalgia and a fondness for the memories that were formed. While being musically
rhapsodic, the mood is now introspective and slightly melancholic, but also jubilant at
times.
Conversations Over Coffee
While the electric guitar can generate a nearly infinite amount of sounds when paired
with the latest amplification and effects processing units, there is still something
refreshing about pulling out an acoustic guitar and getting back to basics.
Conversations embraces that mindset by pairing acoustic guitar with stand up bass in a
series of shorter movements devoid of smoke and mirrors. Musically, the movements
are tied together through a variety of energetic rhythms as well as some extended
techniques. Special thanks to Steven Landis for his expertise and inspiration.
Transcension
In an attempt to reconcile the disparate worlds of progressive metal and
contemporary classical composition, this piece for mixed ensemble resides in
uncharted territory, occupying musical space ripe with new sounds and possibilities.
As a play on the word transcend, this piece represents a synthesis of past musical
styles and new musical sounds and ideas. By transcending musical genres and
attempting to blur the lines, Transcension is an experiment in musical alchemy to
begin developing a new and personal musical vernacular.
