CONCERT

         

La Carota

Choir and piano

4'

Ballet and incidental music for puppet play by Gigio Brunello. 2006

 
         

Mottetti

SATB Choir

3'

Latin, 2005

 
         

A Raucous Storm

SATB Choir

5'

Text by Sandy Ho, 2004

         

Divertimento

saxophone quartet SATB

7'

1999

 
         

Two Quasimodo Poems

mezzosoprano, flute, string quartet, contrabass and two percussionists

12'

Texts by Salvatore Quasimodo (1901-1968) 1993/rev.2000

 
         

Three Meditations

Baritone solo, chorus SATB, orchestra

18'

text by Kahlil Gibran.
1997-98

 
         

Brass Quintet

two trumpets, french horn, trombone, tuba

10'

1995

         

Lullaby-bye  

violoncello

7'30''

1994

 
         

Eras, Ares

violoncello

10'

1994

 
         

Prelude-Fantasia for Harp (1993)

harp

8'30''

1993

         

Trio Sketches (1992)

flute and piccolo, bassoon, and tuba

9'

1993

 

 

JAZZ

The Road Retaken (2010) Jazz Orchestra    8’52’’  
     
Poem (2009) Jazz Orchestra    10’04”  
     
Work in Regress (2009) Jazz Orchestra 6’22”  
 
Cyclops Dance (2006)

Jazz orchestra

11'

BMI/ New York Jazz Orchestra 2007

 
 
 
 
 
 

Time Capsule (2006)

Jazz orchestra

10'

BMI/ New York Jazz Orchestra 2006

 
         

Fidgeting on a Ridge (2006)

s.sax 1/fl, a.sax 2/fl, t.sax1/cl/fl, t.sax 2 /cl/fl, bari sax/b.cl, 4 tpts/flugs, 4 tbns, guit, pno, bass, dms

9'

BMI/ New York Jazz Orchestra 2006

         

Monkuno! (2005)

Jazz orchestra

7'

BMI/ New York Jazz Orchestra 2005

 
         

Irae Be Illa Bop (2004)

Jazz orchestra

10'

BMI/ New York Jazz Orchestra 2005

         

A Great Symphonic Theme

Jazz orchestra

15'

BMI/ New York Jazz Orchestra 2005

         

Bruno Martini

tenor sax and piano

5'

1994

 
         

Soundtrack for the film "Do I Love You" by Neil Orleans

tpt, t.sax, el. bass, el. guit, synth,

15'

1992

 
         

I Could Never Have Let You Go

flute, soprano sax, guitar, piano, vibraphone, synth, bass, drums

7'

1991

 

 
         

Monksville

 

two trumpets, trombone, alto and bari saxes, piano, bass and drums.

12'

1989

 
         

Since I Met You

trumpet, alto and tenor saxophones, piano, bass and drums

6'

1989

 

 

JAZZ ARRANGING  

Title

Instrumentation

Duration

     

Bolivia (Cedar Walton)

jazz ensemble 5,4,3,3

10'

     

In a Sentimental Mood (Duke Ellington)

tenor sax, piano, bass, drums, violin, viola, violoncello

3'

     

Fried Bananas (Dexter Gordon)

nonet + tenor sax feature: two trumpets, trombone, soprano sax, alto sax, bari sax, piano, bass, drums

12'

     

My One and Only Love

Jazz ensemble 5,4,3,3

7'


 

Prelude-Fantasia for Harp is a work in two parts, the first slow and the second upbeat.

It explores some of the resources of the instrument such as playing a la table , harmonics, and percussive sounds in addition to the idiomatic glissandos . Written in 1993, it was inspired by several collaborative encounters with renowned harpist Lucile Lawrence, author of many standard harp method books, pupil and later wife of Carlos Salzedo, the father of modern harp. The premiere was by Jill Wu at Boston University . The Italian premiere was by Alessandra Trentin at Palazzo Cittolini in Vittorio Veneto , later that year. Trentin went on to perform the piece at festivals and concert series in Italy and did a live broadcast on National Italian Radio in 1994.

The recording you are listening to is from a live concert by Franziska Huhn at Harvard University's Paine Hall in 2000.

Fidgeting on a Ridge was written for the BMI New York Jazz Orchestra, a 17-piece jazz orchestra, directed by Jim McNeely.

It is a dirge not about death but about stillness and silence. It was composed in the dead of winter, the week after the holidays, when the machine of human activity almost grinds to a halt. As walking through a park and exiting into traffic, the noisy machine interrupts at various times the terse ballad. It features soprano saxophone and a bass clarinet obbligato. The woodwind players double on various standard doublings such as saxophones, flutes, and clarinets and the trumpets also play flugelhorns. Ostinatos and changing modalities are used extensively. The climax towards the end of the piece is foreshadowed at various points.

The premiere performance was at Merkin Hall in New York City on July 7, 2006 with Mike Migliore on soprano saxophone and Ed Xiques on bass clarinet, the composer conducting.


 

"Best of all were two arrangements for six horns plus featured tenor soloist"
Bob Blumenthal (Boston Globe)

"Sensitive composer and serious conductor"
Lukas Foss

"Inventive, ambitious, and especially musical"
Bob Freedman

"In evidenza sia i largi tratti melodici e cantabili sia quelli piu`vivaci e virtuosi"
(the sweeping lyrical passages and the more brilliant and virtuosic ones came through with equal clarity)
Harpa Magazine
 
"La composizione per arpa sfrutta gran parte delle risorse dello strumento con un un gusto allo stesso tempo sperimentale ed eclettico"
(the composition for harp makes use of most of the resources of the instrument, in a style both experimental and eclectic)
Il Gazzettino di Venezia

"Produces compositions that are clearly heard and beautifully conceived, with rich harmonic vocabulary, elegant melodic sense and satisfying, complete forms."
Richard Cornell

"Lovely colors and surprising Kentonesque moments"
Ted Pease

 

 

 

 


©2011 Michele Caniato