No instrument groups have as much personality than do the woodwinds. Each member: flutes, oboes, clarinets and bassoons create sound by resonating the volume of air within them in a unique way. Woodwind Quintet 2 exploits these instruments’ brilliance and articulate versatility within a unique set of parameters for each of four movements. The first movement, “Nostalgia”, mutates harmony with alternate fingerings. “Alone”, stacks up 7th intervals to support the

can I evoke a specific feeling? Is one of the prime purposes of instrumental music to create emotions and feelings? I think so. This suite of “feelings” for ten strings was a self-challenge to see if I could invoke specific, nuanced feelings. I constructed a method by which the audience could tell me what they were feeling during the performance. Based on the data collected during the performance, the majority of my audience

  Joyful Play is an adaptation of the lively and challenging first movement of Children On the Playground for Solo Violin and Strings for two pianists sharing the same piano (called four hands).  It was premiered by the superb mother-daughter duo Rose Shlyam Grace and Eda Shlyam on July 5th, 2015 at the Timucua White House and later recorded for an upcoming release. (Thank you Benoit Glazer for your endless generosity, engineering and video

12

Feb 2015

Two Edged Sword

Two Edged Sword is a 6 minute 20 second single movement piece for Brass Quintet and Trap Set composed between July 31st and September 10th, 2014 for the Sovereign Brass ensemble. It was premiered on November 9th by the Sovereign Brass at the Trinity Preparatory School in Winter Park Florida which was followed by three more performances: Florida State University in Tampa, FL (11/10), Full Sail University in Winter Park,

Why not combine banjo, turntables, winds, voices, vibes and a percussion section for an animation project? Notes by the composer In 2005, I was approached by some colleagues in the Animation department at Full Sail to contribute comedic music for an animation that was being produced for our monthly Behind the Scenes open houses. The production title of the piece was called “Still Frames”. I composed the 1 min 40

How closely can a musician delay a copy of the same melody behind the original? A bright shadow is created, when it’s piano and alto sax. Notes from the Composer Bright Shadow for Alto Saxophone and Piano is a revision of previous work titled “Happy Crazy” that was originally scored for Keith Koons, clarinet, and piano in the late ’90s. This revision met the need for simplification and a more strongly distilled brew of

  On May 12th, my song “the still unborn about the dead”, one of the “5 Stanescu Songs”, received its best ever performance in 20 years by Julie Batman (soprano), Rimma Bergeron-Langlois (1st violin), Alexander Stevens (2nd violin), Mauricio Céspedes (viola), David Bjella (cello) and Jamila Tekali (piano). I am indebted to these musicians for the huge amount of work they put into giving this music life. This is the first time

CF2 Salon 2015, Keith Lay from Benoit Glazer on Vimeo. Notes from the Composer When Leaders Stop Listening  for Brass Trio and Three Mimes : A Brass March in Vaudeville style. An In-the-flesh Cartoon. A Comic Satire on Corporate Life. In the spirit of Charles Ives, Carl Stallings and Frank Zappa, I wanted my audience to enjoy poking fun at chain-of-command societal structure: to let the music inspire humor towards the feelings of powerlessness we often find ourselves in at work, in every

Notes from the Composer“The Glazer Suite” was written for the remarkable family of Benoit Glazer. Benoit is a music leader in the Central Florida region who wears many hats. Publicly, he is the trumpet soloist, conductor and music director of the wonderful Cirque du Soleil La Nouba. He is an arranger and composer as well. Less known, Benoit is also an audio engineer and holds a patent on a trumpet

06

Jul 2009

Contented Waltz

  Contented Waltz Thirteen synthesized sounds in counterpoint render this simple waltz. Without using any drums or “beat”, the expressive nuances that provide an organic complexity in modern electronic voices are allowed to be exposed. Like many electronic music productions before EDM like Walter Carlos’ “Switched On Bach”, Tomita’s “Snowflakes Are Dancing” and the music of Paul Lansky, these electronic voices are used symphonically (sym= together, phon=sound). The original version of this music, dated October 10, 1995