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Rafael Leonardo Junchaya
‘Tres Danzas Episkénicas’ for baritone/tenor saxophone, bass clarinet/clarinet and piano
1. Kordax for baritone saxophone, bass clarinet and piano
2. Emmeleia for baritone/tenor saxophone, bass clarinet and piano
3. Sikkinus for tenor saxophone, clarinet and piano

HyeKyung Lee
4. ‘Shadowing’ for alto saxophone and clarinet

Keith Carpenter
5. ‘The Devil His Due’ for baritone saxophone and piano

Eric Honour
6. ‘Neither From Nor Towards (ballade)’ for baritone saxophone, clarinet and piano

Marco Antonio Mazzini
7. ‘Imprevisto’ for solo clarinet

Kevin Walczyk
8.‘Refractions’ for alto saxophone, clarinet and piano

Fernando Benadon
‘Five Miniatures’ for baritone saxophone, bass clarinet and piano
9. one
10. two
11. thee
12. four
13. five


Christian Faur, artwork

Rafael L. Junchaya

Peruvian composer, orchestral conductor and music researcher, was born in Lima in 1965. Started piano lessons in 1973 with Ivonne Schiaffino and continued at the National Conservatory with Eduardo Bolaños (violin) and Norma Sosa (Theory) between 1975 and 76. In 1983 began studying Architecture at the National Enginerring University in Lima, where he also became a member of the chorus. In 1988 comes back to study Composition at the National Conservatory, and left the university next year. Since 1990 until 2002 worked at Radio Filarmonía (formerly Sol Armonía), conducting several programs, among them, “Crescendo” (1993). In 1992 travelled to La Serena, Chile, to attend the 4th Contemporary Music Encounter-Latin American Courses and Workshops, where he directed a workshop on MIDI instruments. He studied orchestral conducting with Miguel Harth-Bedoya between 1994 and 1996, and visited New York City in 1995 for complementary training. He later attended courses in orchestral conducting at the National Conservatory in Lima, between 2000 and 2003, under the supervision of Eduardo García-Barrios. Also attended to a orchestral conducting workshop at the National Symphony in 2002. Junchaya has been invited to conduct the National Conservatory Symphony Orchestra (1994, 2002 and 2003 as guest, and 2004 as principal), Symphony Orchestra of Trujillo (Peru, 1996, 1999), the Summer Workshop Orchestra, which he co-founded (1996) and has been principal conductor of “La Filarmónica” Orchestra between 2005 and 2007. He has been a teacher of Analysis, Music History and Composition at the Regional Conservatory “Carlos Valderrama” of Trujillo (1998–99), the National Conservatory in Lima (2000–07), the San Martín University Institute of Arts (2006–07) and the Peruvian Air Force (2007). His compositions have been premiered in several concerts and recitals in Peru and abroad. Among his works, it can be mentioned: Piano Prelude Op.1, “Picaflor esmeralda” and “Ave Maria” for chorus, “Estancias II” for voice and string quartet, “Variantes motímbricas” for clarinet, trumpet and synthesizer, “Marsyatikos” for flute and piano, Three Episkenic Dances, for clarinet, sax and piano, “Concertino Silvestre” for bass clarinet and string orchestra, and Symphonic Movement, “Esquisse” and “Varidanzas” for orchestra. He has also created several electroacoustic pieces, like “Piedra del Q'osqo”, “Ccoyllurcha”, “In-vita”, “Die Erscheinung”, “Sevoc Anatos” and “Tambok”. He has been awarded two composition prizes, at the 2005 Composers Kombat, in USA (for Magnificat for two sopranos, flute, oboe and horn) and in Lima the National Conservatory Anniversary Prize in 2006 for “Varidanzas”.At present moment, Junchaya is researching for a Musicology PhD thesis on musical composition at the University of Helsinki, Finland.

Three Episkenic Dances

1. Kordax
2. Emmeleia
3. Sikkinus

The titles of the work and of the movements refer to ancient Greek dances performed in theatre, although the music itself is not to be necessarily taken as a piece for dancing. It is dedicated to Thelema Trio and written for Bass/Bb Clarinet, Baritone/Tenor Sax and Piano. The composition is guided by the idea of complementariness. Each performer becomes an actor playing a different role, but that fits in a complementary role for the others. Sometimes they gather in pairs, or in threes, but mainly they act independently. But the independence is not absolute: there are joining elements, like rhythm, melodies and pitch sets.
Kordax acts as an introduction, quite straight, to the whole composition. It is characterized by a steady rhythm and figural repetitions. Emmeleia is more introspected, tends to depict a more melancholic and longing atmosphere, and emphasizes timbrical variations. Sikkinus is based, in rhythm and melody, on Peruvian dances from the Central Andes, where also the use of the clarinet and sax combination is quite common, so it highly resembles the sounds of that part of the country.
The Three Episkenic Dances were premiered by Thelema Trio at the Third Contemporary Music Festival of Lima in November 2005, and later also performed in Europe and the United States by the same ensemble.

HyeKyung Lee

The Devil His Due

The Devil His Due is a response to saxophonist Peter Verdonck’s love for Death Metal Music. Not being tuned into that kind of rock, I imagined what it might sound like if written for saxophone and piano. As a starting point, I began with the lowest, most raucous sound I could imagine for the combination of bari sax and piano. From there, I organized the piece numerically around occult numbers, all the while emphasizing the devil’s interval, the tri-tone and the muscular sound of metal power chords made of fifths and octaves. The appeal of writing “devil” music has appealed to composers since at least the Romantic era (composer/violinist Niccolo Paganini even tried his best to look devilish), and my piece is an attempt at the same.

Eric C. Honour, Jr. (b. 1970) is an associate professor of music and director of the Center for Music Technology at the University of Central Missouri, in Warrensburg, Missouri. His compositions have been performed across the United States, in Greece, Belgium, London, Budapest, and Bologna, including performances at regional, national, and international festivals and conferences. He is affiliated with the classical music division of Broadcast Music, Inc. (BMI) and his music has been published by Roncorp, Inc. and recorded on Capstone Records. He has won widespread recognition in competitions for both composition and performance, including the SCI National Composition Competition, the MTNA Collegiate Artist (both woodwind & composition) competitions, and the ASCAP Morton Gould Awards to Young Composers competitions. His music has been performed by such notable artists as Quintet Attacca, Q-02, Quintet of the Americas, Winston Choi, Mia Hynes, and Quartetto Musicattuale. His composition teachers have included M. William Karlins, Stephen Syverud, John Anthony Lennon, Jay Alan Yim, and Budd Udell. He completed the Doctor of Music degree in composition at Northwestern University in 2004. He earned his master's degree in saxophone and composition at Northwestern in 1997, studying saxophone with Frederick Hemke and Jonathan Helton. He was awarded a bachelor's degree in saxophone and composition with highest honors as well as the Performer's Certificate by the University of Florida in 1995.

neither from nor towards (ballade)

"neither from nor towards (ballade)" explores motion within stasis, and the intersection of process with intuition. Its quick flurries of notes tend only gradually toward large-scale movement, and fall back time and again to the unchanging center. The piece is based on my earlier work, "Ballade," for soprano saxophone and marimba, and takes its title from a line of T. S. Eliot's "Four Quartets 1: Burnt Norton." Like Eliot's paradoxical "still point of the turning world" – itself clearly linked to contemporaneous ideas emerging from early quantum mechanics – the pitch center of "neither from nor towards" is always crucial, yet never in the foreground. Instead, the instruments dance around that center, sometimes trading glances at
each other across it, sometimes joining in furious consort to stray away from it (and yet always falling back).

Marco Antonio Mazzini

Imprevisto

This short piece is based on four notes (E - G# - B - D# ) which creates a seventh mayor arpeggio. These notes explode the full register of the clarinet, from the low E to the D# in the altissimo register. The tremolos already introduce three notes, and they should be play "as a whisper".
Imprevisto ("Unexpected") is dedicated to the memory of Mario Alvarado (1974-2002).

In my work, I try to mimic these elegant structures of nature by developing systems of my own with which to express my thoughts and ideas, so that the medium and the message appear as one.

I think of it like a game, with a set of axioms that are established at the outset through the limitations of the material or forms from which the work is constructed, which then dictates what can and cannot be "said" within the boundaries of the chosen medium. This material limitation can also be a strength, as there is the potential to contain thoughts and ideas in unique ways, so that the "medium" can become the "message." This intertwining of form and function can be seen most directly in my most recent work, which is comprised of crayons and shredded paper.

These systems function as a private language, that allows me to express many layers of meaning within each work that I create. I think of them as complex visual "poems," which can redefine the way we think about the meaning of communication.

In my newest body of work, I focus on the semiotic nature of color by using a color alphabet system, which I have developed. This system uses pure color to mimic the function of letters (glyphs) to hold language and forms the basic foundation for many of the experimental works that I have produced.

These works range from a “Mating Jacket,” a brightly colored dinner jacket composed of dozens of colored-sentences of male oriented come-ons, pick up lines, slogans, and macho self promotions to an artist book, in which I developed a system of written glyphs to translate Wittgenstein’s text “Remarks on Colour” into pure color.

This color system of writing has also informed many of my other recent works. In the Forgotten Children, a series of photorealistic grayscale portraits of young children composed of tens of thousands of individually stacked crayons-tips, the color-alphabet crayons are used to spell out hundreds of children names within each of the individual panels. The Pangram series uses holoalphabetic sentences (pangrams) in conjunction with the color-alphabet to produce a set of colorful abstract encaustic works.