COME RAIN OR COME SHINE (1946)
Harold Arlen (1905 - 1986)/ Johnny Mercer (1909 - 1976)
"Come Rain or Come Shine" is a popular song written for the Broadway musical St. Louis Woman, which opened on March 30, 1946, and closed after 113 performances. It became a modest hit during the show's run, rising to number seventeen on the pop charts.
ABOUT THE PIECE
Composer Marc Mellits is one of the leading American composers of his generation. His unique musical style is an eclectic combination of driving rhythms, soaring lyricism, and colorful orchestrations that all combine to communicate directly with the listener. Mellits' music is often described as being visceral, making a deep connection with the audience. Mellits often is a miniaturist, composing works that are comprised of short, contrasting movements or sections. His music is eclectic, all-encompassing, colorful, and always has a sense of forward motion.
"Red" is a multi-movement piece for two marimbas.
Solstice Sonorities
World Premiere
Nick Demos (b. 1962)
Solstice Sonorities is a brief work dedicated to my colleagues, trumpeter Alexander Freund and guitarist Luther Enloe. As the title indicates, the composition was written at a particular time of year. I began the work at the beginning of June and finished up at the end of the month. However, the bulk of the writing took place right around the Summer Solstice. Aside from its title, there was no real programmatic intent to the piece as I worked on it. When I finished however, it seemed to me that, although a stretch, one might be reminded of the heavy, languid heat that ushers in the summer season (especially in Atlanta) as found in the long, free-flowing melodies of the trumpet both playing solo and while accompanied by a more lilting arpeggiated figure in the guitar. These long lines bookend the work with a more energetic, rhythmic section in the middle. In retrospect, after finishing the piece, this middle section strikes me as reminiscent of evening summer festivities taking place when the sun sets, drinks are poured, and the temperatures cool a bit.
For current information, score samples, audio excerpts, videos, blog and much more, visit the composer's website.
Three Madrigals for Violin and Viola (1947)
Bohuslav Martinů (1890 - 1959)
I. Poco Allegro
Selections from Carmen Fantasy (1881)
François Borne (1840 -1920)
Galway edition
Francois Borne was principal flautist for the Grand Theatre of Bordeaux and professor of flute at the Toulouse Conservatory. He is most remembered today for the Fantasie Brilliant on Themes from Bizet's Carmen, which has become a staple of the Romantic flute repertoire.
Brillante (1987)
Peter Graham (b. 1958)
Brillante was commissioned by Peter Wilson for the British Bandsman Centenary Concert in 1987, and the piece was first performed as a duet by Robert and Nicholas Childs. Later reworked as a solo with brass band accompaniment, it has become popular around the world.
Poissons d'or, or Golden Fish, is from a collection of three books called "Images," usually pronounced in French as [i.maʒ]. These books are a suite of six compositions for solo piano by Claude Debussy. They were published in two books/series, each consisting of three pieces. The first book was composed between 1901 and 1905, and the second book was composed in 1907 with Poissons d'or being the third piece in Book II. Debussy wrote the third collection, Images oubliées, in the Winter of 1894 and dedicated it to Yvonne Lerolle, daughter of the painter Henry Lerolle.
"I remember” (2022)
Adeliia Faizullina (b.1988)
Adeliia (Adele) Faizullina (b.1988) is an Uzbekistan-born Tatar composer, vocalist, multi-instrumentalist and quray player. As a composer, she explores cutting-edge vocal colors and paints delicate and vibrant atmospheres inspired by the music and poetry of Tatar folklore. The Washington Post has praised her compositions as "vast and varied, encompassing memory and imagination."
Fugue in g minor (“Die Kleine”)
Johann Sebastian Bach (1685 - 1750)
Bach's Fugue in G minor, popularly referred to as "Little Fugue," was written during his years in Arnstadt, Germany (1703-1707). It is one of Bach's best-known fugues and has enjoyed great popularity. For 100 years after his death, it appeared in no fewer than four different editions. Bach's pupil Schübler even found the theme so layered that he composed a fugue about it himself. In the last century, Leopold Stokowsky even made an impressive transcription for orchestra.