Hi, hope you are all well! I know it's been a while since I've posted anything– just been busy here. Seems there's a lot of fugues going around too :)Anyway, I'm now finished with this concerto and…Continue
"For books, I would recommend the following: Pierre-Yves Artaud's books for flute
Harry Spaarnay's book on bass clarinet
Philip Rehfeldt's book on clarinet
Giorgio Netti/Marcus Weiss' book for saxophone
"Honestly, whenever possible, I'd find a player and work with them. Of course, I realise that not everyone here has access to instrumentalists.
For pedalling, I would say that you want to work out how long a note is going to…"
"There's a site for clarinet multiphonics as well: http://clarinet-multiphonics.org
And I agree that going over things with a performer is important, since techniques like multiphonics (and multiphonics in particular) can be really finicky…"
"Hats off to you for this– I think it could be difficult to score for something for which so many of us have clear musical associations with (given the famous score that goes along with the movie). There's a lot of nice things here,…"
"Haven't made any specific resolutions, but here's some of the things I'll keep doing: continuing to work on rhythmic points, continuing to practice my piano rep, studying more scores, and working on different types of textural writing…"
"This is interesting, and I agree that different phrases can evoke different emotions. For me, this has a lot to do with harmonic function in addition to the key that the phrase is in.
As for key associations, it's the key itself…"
"This is interesting. I know some people with pitch-colour synesthesia (I'm not one) and they all seem to have their own key-colour associations. I do have my own ideas on key characteristics that sometimes line up with the articles…"
"I will say that there are interesting moments of odd tunings at moments like 0.55, 2.45, or 3.20, and you have that vocoder-ey moment at 1.41. But the rest of the song is pop-like and these moments are quite striking in their contrast to the…"
"Hi Lawrence– listened, and it's a cheerful little piece. Reminds me of some carnivalesque pieces I've heard, and some ballroom polonaise-type stuff.
As far as harp pedalling goes, I'd definitely notate what…"
"Hello again Lara -
I just listened to Mirror Rim for about the sixth or seventh time and am totally impressed as usual. By the way, for those who "don't know how to listen to this kind of music", I listen the way I listen to all…"
"What a great piece! Sort of trippy and dreamy... Going to have to listen to it a couple of times before I comment further, but for now, I'll say that it's very colorful, cohesive and holds my interest!"
"I often have trouble to relate to this Avantgarde forms of composition, this however is very fascinating. It strikes me as weirdly supernatural and I immediately get the impression of listening to surreal paintings like something Dali would have…"
What have you composed for? Or what medium do you work around?
Orchestra, Small Ensemble, Big Ensemble, Songs, Contemporary Ensembles, Other
What is your favorite genre or style of music?
Is music your main income source?
Where do you live?
About Me (Must include biographical information about you as a composer):
Lara Poe is a Finnish-American composer who is currently based in London. She has collaborated with musicians such as the JACK quartet, Dal Niente, Sound Icon, Semiosis quartet, Jonathan Radford, Laura Farré Rosada, Aija Reke, and Timo Kinnunen, and her works have been performed in the US, as well as the UK, Finland, Latvia, Germany, and Taiwan. She has received recognition in several competitions. In 2017, Poe received the BMI Student Composer Award William Schuman Prize for the most outstanding score, and was the winner of the 2016 American Prize in Chamber Music composition, student division. Poe was also a participant in the 2017 Britten-Pears Young Artist Programme, and her piece Mirror Rim will be performed at the 2018 Aldeburgh Festival.
Poe is currently studying at the Royal College of Music, as an RCM scholar supported by the RCM, with Kenneth Hesketh as her principal composition professor. She has also studied electroacoustic music with Gilbert Nouno. Prior to her studies at the RCM, Poe studied with Martin Amlin, Richard Cornell, Joshua Fineberg, Paavo Korpijaakko, Rodney Lister, Alex Mincek, and Ketty Nez. She received her Bachelor of Music degree from Boston University, and studied at the New England Conservatory Preparatory School while in grade school. While pursuing her bachelor’s degree, Poe received the both the Boston University’s Wainwright prize and Department of Music Theory and Composition award in 2016, and was inducted into the music honor society Pi Kappa Lambda in April 2016.
Poe's current projects include Sonifying Noise Pollution, which is a collaboration with Royal College of Art graduate Jennifer Haugan. This project is an interactive, multimedia examination of noise pollution levels throughout the UK. Poe and Haugan presented Sonifying Noise Pollution at the 2017 IRCAM forums in April 2017, and are working to include more data points and more interactive features. Poe is also working with violinist Aija Reke, who is currently learning her violin concerto, and Poe is also working on a variety of both large-scale and smaller scale projects involving colleagues at the RCM.
Comment Wall (4 comments)
You need to be a member of Composers' Forum to add comments!