p. kellach waddle
were you dreaming of january vampires and of sleet glistening on weeping angel tombstones?
P. Kellach Waddle enjoys a lauded and very active career as a solo bassist, composer, orchestral and chamber musician, conductor, and concert curator. He has been hailed as one of the “…most creative and exciting bass soloists in the world…” from his dozens of solo performances, most notably as one of the select bassists from over 100 countries invited to give solo concerts at the 2009, 2013, and 2015 International Society of Bassists conventions. His music has been heard in nearly 40 states and in 16 countries, at venues ranging from The White House to Carnegie Hall....
A matter of perception
I was born on June 3, 1998. I grew up mostly in the small central Indiana town of Danville. I graduated from Danville High School in 2016 and went on to study music composition for film/media at Indiana University Southeast. I am currently in my second year at the university.
A Matter of Perception is about our struggles in life and how we choose to deal with them. You can either let them define you and confine you, or you can push past the pain and choose to have a positive outlook. This piece features a series of musical ideas that appear in a variety of different contexts to symbolize life in the way that the same thing can happen to you multiple times and can mean very different things each time. Ultimately, however, our end goal as humans is to be happy.
Concerto for Horn and Chamber Orchestra (feat. tyler taylor, soloist)
- “autumn toned.”
The instrumentation of this concerto is roughly modeled after that of the Hindemith Concerto for Horn and Orchestra; however, I have opted to use piano in place of the timpani and have scored for solo instead of multiples. The Hindemith concerto also features a poem in the third movement, written by Hindemith himself, in which the horn responds to calls of recited lines. The first two lines,
"Mein Rufen wandelt
In herbstgetönten Hain den Saal... "
roughly translate to,
"My call transforms
The hall into an autumn toned grove…"
The imagery of the “autumn toned grove” resonated with me in capturing the essence of the first movement and the scene that inspired it, hence the title ‘autumn toned.’ The second movement, Evenfall, can be interpreted as a continuation of autumnal imagery, but more specifically refers to the complete setting of the sun and the arrival of total darkness. The title of the third movement, Skyglow, refers to the phenomenon of the sky around urban areas appearing to glow as a result of light pollution, especially in hazy or overcast conditions. The subtitle of the concerto ‘Lake Music’ provides the context that the music is inspired by my visits to Lake Erie and Lake Ontario during my time in Rochester and the impressions they made on me. The lakes themselves, as well as the individual scenes that inspired the music, are charged with potent symbolism.”
The concerto began as a commission in August 2015. I was afforded a great amount of time to work on it given that it wasn’t due until May 2016. The first sketches were started in the afterglow of my undergraduate studies at the University of Louisville and in anticipation of my studies at the Eastman School of Music. However, the mood changed rather quickly when I said goodbye to friends, family, and Louisville. Faced with the challenges of another, more pressing composition, the concerto was placed on the back burner until the completion of my sinfonietta, Encompasss, in October 2015. By this time, the commissioner had backed out and I had to devise a new plan for the concerto – I would perform it myself on my own graduate recital. After over a years worth of work, I finished the concerto the summer of 2016, in Rochester, Ny.
Tyler Taylor was born in Louisville, Kentucky in 1992. He is currently pursuing his Doctor of Music in composition at the Indiana University Jacobs School of music with a minor in music theory and a secondary minor in horn performance. He studies composition with Don Freund and horn with Jeff Nelsen. He earned his MM from the Eastman School of Music where he studied composition with David Liptak and Bob Morris as well as horn with W. Peter Kurau and earned his BM from the University of Louisville where he studied composition with Steve Rouse and Krzysztof Wołek as well as horn with Bruce Heim.
As a composer and aspiring contemporary chamber musician, Tyler finds experiences in which he can be both a composer and performer the most inspiring. Most recently, he was the horn fellow at the Bang On a Can Summer Music Festival and participated as both a performer and composer at the Oregon Bach Festival Composers Symposium. Tyler has held various positions in ensembles including the IU New Music Ensemble, Eastman’s Musica Nova, Ossia New Music, the Eastman Wind Ensemble, and many more. Tyler was awarded the Howard Hanson Ensemble prize in 2016 for his thesis Liberation Compromise and in 2015 for his sinfonietta Encompass.
Langston hughes songs (feat. susan l hahn, soloist)
Daniel Gilliam (b. 1978) is a composer from & living in Louisville, Kentucky. He was a resident at Copland House in 2017. Gilliam has been commissioned & collaborated with Kentucky Shakespeare, Louisville Ballet, Kentucky Governor’s School for the Arts, pianist Lara Downes, violinist Rob Simonds, LONGLEASH (a piano trio), Steven Paul Spears, Youth Performing Arts School Chamber Choir (Louisville), Kentucky Center Chamber Players, & Jason Weinberger/Waterloo-Cedar Falls Symphony. Gilliam is a founding member of A/Tonal. His album of art songs The Call to Earth is available on iTunes. You can also find his music on Spotify & Bandcamp. fictivemusic.com
Some of the music in these Langston Hughes Songs - versions of the first three songs - are nearly 17 years old. They represent some of my first attempts in the art song genre - a medium that sets existing poems to music. The first three poems - Sea Calm, Frosting, and Love - are vivid, lyrical, and succinct - deeply layered, but not incomprehensible. The Dove was supposed to have been part of the original set, but it wouldn't appear for another few years, along with Youth, written while living in Lawrence, Kansas, Hughes' childhood home. In 1980, the city of Lawrence placed a plaque at the entrance to City Hall with the first line of this last song: We have tomorrow / Bright before us / like a flame. The overture was conceived about four years ago, and does what any overture usually does: hints at themes and ideas to come. These orchestrations are brand new, and add color and texture to the text, in a way that a piano alone can't achieve. The overall arc for this cycle is one of hope, beginning with uncertainty and fear, and ending with a call to march.
holding space (feat. hannah l drake, soloist)
I composed this piece to feature the poem Spaces by Hannah L. Drake. The music was informed by the words. Hannah’s poem Spaces was featured by the Festival of Faiths last year, and the poem explores the feelings of overcoming the challenges put in place to intimidate marginalized communities.
Rylee Short, the composer formerly known as Rachel Short, studied composition & poetry at WKU & IUS. They are interested in live collaborative arts and interdisciplinary juxtapositions for effective outreach and education. Their debut solo album, Nature:Industry : Self features mixed sound media along with weaving horn solos and poetry. Their forthcoming album, to be released by Humanhood recordings, The Trees have no Tongues is a Seussian synth experiment and will be released mid to late February.
Hannah L. Drake
Recently selected as a 2017 Hadley Creatives, author, activist and spoken word artist, Hannah Drake offers a powerful, inspirational message that has been heard in various arenas around the world. In January 2017, Hannah started her blog, writesomeshit.com, offering insight on politics, current events, race and social justice. Hannah offers a unique and powerful message that promises to be thought-provoking and at times challenging but Hannah believes it is in the uncomfortable spaces that change can take place. “My sole purpose in writing is not that I entertain you. I am writing to shake a nation.”