Vol.I – Water and Brick April 9, 2013

Vol. 1 - Water and Brick

Turkar Gasimzada weaves his science in a piece for solo flute, and in Opalescence, a quintet mimics that process wherein light is scattered by color. Mike Perdue introduces the rhythms of words as notation: Scraps of metal, wood, vibraphones and pianos all feel his wrath. In Brian Questa’s Ave Maria, religious tranquility meets improvisational ecstasy.

The Music

    • Turkar Gasimzada
    • Solo for Erin Lesser
    • E. Lesser, flute
    • Turkar Gasimzada
    • Opalescence
    • Ensemble Sans Maitre
      Martha Cargo - flute
      Will Lang - trombone
      Kallie Ciechomski - viola
      Yumi Tamashiro - percussion
      Kyle Ritenaur - percussion
    • Mike Perdue
    • Creed
    • M. Perdue, prepared piano
    • Mike Perdue
    • Words
    • M. Perdue, Scott Steele, Elliot Beck, percussion
    • Mike Perdue
    • Three Pieces for Vibraphone
    • M. Perdue, vibraphone
    • Brian Questa
    • Ave Maria
    • Kjersti Kveli and Charlotte
      Mundy, sopranos
      Hayne Kim, violin
      Brian Questa, double bass

The Articles

Mike Perdue: Anything but That!

by Brian Questa
In December of 2010, percussionist Mike Perdue entered the concerto competition of the Contemporary Performance Department at the Manhattan School of Music. Uniquely enough, Perdue entered the competition with a piece of his own, (not really standard procedure for a concerto competition, where instrumentalists generally showcase their talents on the tri ... [read more]

Turkar Gasimzada: Makam as Movement

by Brian Questa
“Pure insight, however, is in the first instance without any content; it is rather the sheer disappearance of content; but by its negative attitude toward what it excludes it will make itself real and give itself content.” - G. W. F Hegel, Phenomenology of Mind. There are many angles to the music of Turkar Gasimzada. His work mirrors the kaleidos ... [read more]

Short Summarization of Mugham Essentials

by Turkar Gasimzada
There are very few articles written, or analysis made on mugham music. The reason for this is that unlike other eastern musical concepts, mugham has only lately been introduced to the broader musical audience. Mugham music research has much space to fill regarding knowledge of the music's different types, and in order to provide opportunities for schola ... [read more]

Ave Maria for Two Soprano Singers, Violin, and Double Bass (2011)

Between the Sacred and the Profane by Brian Questa
There seem to be two paths that one can take in relation to the dissonance of atonal music: one, either it is objectively harsh because of the “natural law of tonality” or two, its harshness is only perceived based on our accustomed listening habits and therefore only an open mind and a bit of understanding is needed to appreciate it. The first camp ... [read more]