Tamar Diesendruck: The Grief That Does Not Speak

Published in Discography, Music Incubator

Tamar Diesendruck: The Grief That Does Not Speak

 

1. Being as How (19:07)
Callithumpian Consort, Stephen Drury cond.

2. 8 —-> ∞ (eight tends toward infinity) (15:03)
New England Conservatory Cello Ensemble, Alan Fletcher cond.

3. the grief that does not speak (23:23)
Furious Band, Roger Zahab cond.

4. What of the How X 6 (15:12)
Firebird Ensemble

 

Being as How was written for the San Francisco Contemporary Music Players and Dinosaur Annex and premiered April 3, 1995 in San Francisco.

8——>∞ (eight tends toward infinity) was premiered by the New England Conservatory Cello Ensemble on March 5, 1996, Alan Fletcher conducting, in Boston.

the grief that does not speak was written for the Phantom Arts Ensemble and premiered by them on March 22, 1997, Andrew Rindfleisch conducting, in Waltham, MA

The What of the How X 6 was commissioned by the Fromm Foundation for the New Millenium Ensemble and premiered by them April 19, 1998 in New York City.

Tamar Diesendruck writes virtuosic chamber music, including orchestral, choral, wind ensemble, and vocal works. Her music is often characterized as having a wide range of expression. Her works from the 1990s found common ground between disparate musical cultures, but more recent works avoid references: passages of guided freedom for players are incorporated to produce complex webs and networks of sound. Fashioned from layered fragments of intense individual “utterances” performed simultaneously or bunches of small gestures that resemble each other, varied musical spaces emerge, lines branch and wander, eddies and currents form.

Commissioned by a consortium of ensembles, Diesendruck’s fellowship project, “Variant Scenarios,” will be scored for orchestral winds and percussion. Inspired by the processes of evolutionary biology, the idea of a collection of organisms, populations, and developmental scenarios comes out of a long-standing fascination with creating music of extreme variation from the same “DNA” and an interest in incorporating the multiple versions of compositional elements that emerge in the compositional process.

Diesendruck’s works have been performed by ensembles and soloists in Asia and the Middle East and throughout Europe and the United States. Her honors include a Guggenheim Fellowship, the Rome Prize, commissions from the Fromm Music Foundation and the Koussevitzky Music Foundation, and three awards from the American Academy of Arts and Letters. She earned her MA and PhD from the University of California, Berkeley and her BA from Brandeis University.

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