Ghost Ensemble is pleased to announce the results of our 2018 Call for Scores!
We received 250 submitted works with an incredible variety of innovative approaches and enchanting aesthetic voices. After countless hours poring over these submissions and many very difficult decisions, we have selected a small group of outstanding works that we look forward to performing in our 2018-2019 season. We are thrilled to introduce the composers of these pieces along with a glimpse of the sonic adventures to come!
Alyssa Aska composes works that combine electronics or electronically-inspired aesthetics with acoustic instruments, and is interested in exploring different approaches to performance situations. She currently studies Computer Music with Marko Ciciliani and Composition for Musical Theatre with Klaus Lang at the Kunstuniversität Graz.
The subtly-shifting microtonal harmonies, pulsing dyads, and fleeting flutters of Synchronicities conjure tectonic plates — shifting, groaning, coalescing, and gradually building in a cathartic arc.
Kittie Cooper is a composer based in Charlottesville, Virginia who makes art that incorporates feminism and explores the spectrum between silliness and seriousness. She is interested in graphic and text scores, improvisation, and taking care of the stray cats in her neighborhood.
Superlatives is both highly original and wonderfully fun, employing a wide array of adjectives not traditionally applied to musical instructions, turning them into the defining parameters of the work, and allowing a bountiful exploration of the interactions between these concepts and the musicians realizing them.
Anthony R. Green is a composer, a performer specializing in piano and experimental voice, and the co-founder of Castle of our Skins. When not composing, he is most likely brushing up on a foreign language, or sleeping on an airplane, train, or bus.
The delightfully directional, imaginative, unconventional, and expressive Hover uses sounds, space, and proximity to the audience members to channel the experience of a hot air balloon ride.
Kevin Michael Kay is inspired by the ways in which our universe manifests sound, and through his art, he explores how sound behaves in our world both physically and naturally. His musical language tends to utilize the physics of sound by exploring the harmonic series, just intonation, and the physical properties of the instruments in ways that feel transparent and idiomatic.
The Universe is Vibrating creates spacious and sensuous resonances, illuminating wide swaths of the harmonic series from the rumbling harp up to delicate harmonics and whistle tones. The piece surprises and delights when these aperiodic textures erupt into sparkling bursts of repetition.
daniel grantham’s compositions feature complex harmonies based on the harmonic series and have been premiered across the U.S. and abroad. He currently lives and works in Baltimore, Maryland where he is also active as a teacher and theorist.
deconstruct reorder conjoin repeat invites the performers to mesh with a mesmerizing electronic soundscape, creating delicate composite timbres and intense beatings.
Guy Klucevsek is a versatile and innovative composer and accordionist. Kyle Gann writes that “Klucevsek writes the world’s most abnormal “normal” music … No other composer on the scene is so untouched by fashion.”
Tesknota‘s sound-world is evocative and hypnotic; harpist Lucia Stavros writes, “I feel like I’m in Wyoming looking at the stars.”
In addition to the six winners, we have also selected a handful of impressive and exciting works as Honorable Mentions, which will be considered for performance in the 2018-2019 season and beyond:
Alexis Porfiriadis’s Collective Thoughts invites the performers to collaboratively select and engage with a huge variety of up to 98 distinct ensemble sound-making procedures, resulting in a stimulating exploration of the many ways composers, performers, and listeners can interact at the intersections of these roles.
Jordan Dykstra’s Pitch Gradient with Noise zooms in with laser focus on micro-stepwise pitch evolution at the edge of discernibility, scaling the harmonic height at a rate of ten minutes per semitone, with timbre slowly fluctuating through instrumental entrances and exits.
Anne Leilehua Lanzilotti’s Gray, with elements of physical movement inspired by dance and poetry, draws long, curving lines that explore subtle shifts in timbre.
Through flexible static elements that shift position and context, Tomas Cabado’s February 3rd, 2018 creates an evolving sonic space that can take many forms through many iterations.
Wilfrido Terrazas’s Ifigenia en creates an ecosystem of alternately hyperactive and dissolving “growth modules”, manifested with a malleable temporality that asks the performers to search for “a hidden oral tradition of the piece”.
James Falzone’s Canon On Highly Composite Numbers begins with a slowly-unfolding series of pitches that bloom into a beautifully orchestrated, unified sound, glassy yet alive with inner melodies.
The undulating beauty of Finnur Karlsson’s Waves evokes an uneasy serenity through the softly interweaving movements of flute and accordion.
We are deeply grateful to all who submitted, and can’t wait to share this music with you!
With more exciting news coming very soon ….