Composers' Salon | Friday, March 4, 2016

An evening of music and discussion with Seattle composers:

  • Jeremiah Lawson
  • Sean Osborn
  • Nicole Truesdell
  • Neil Welch and Marcin Pączkowski

Hosted by James Holt

Friday, March 4, 2016, 8 pm
Chapel Performance Space
4649 Sunnyside Ave N, 4th Floor
$5–15 suggested donation

January Salon previews

Amy Denio

“I participate in Immersion Composition Society, a spontaneous society started in California I believe; now there are 'cells' all over the world.

Usually once a month, our group of composers choose a common day on which to compose as much as possible individually during the course of one day with the objective of composing 20 pieces. The objective is to generate ideas, not to attain perfection. We then meet at the end of the day, and share the results. It's extremely interesting and inspiring!

I'll present two of my 'instant' songs, and talk about the compositional ideas and processes I've developed while participating in this crazy monthly series.”

Keith Eisenbrey

“The Tambourine Q[x]tet is not much more than it's title suggests: an idea that arose during a conversation about something else, followed in a synaptic instant by the realization that we could put it together quite easily. I will be joined by my fellows of Banned Rehearsal, an improvisation workshop/open-sound-laboratory/ensemble that has been working together since June of 1984: Karen Eisenbrey, Steve Kennedy, Aaron Keyt, and Neal Kosály-Meyer.”

Patrick O'Keefe

“I've been composing for only a few years—since retiring from a non-musical tech field. My style is still in flux, but is primarily tonal/modal, often using Eastern European folk modes (e.g, the Hungarian minor mode, double harmonic mode, etc.), and occasionally using Balkan dance rhythms.

My Five Bagatelles for Piano, the first 3 of which are being presented at the Salon, are not typical of my compositions. They are mostly tonal but avoid traditional tonal harmonies. Instead, they use techniques like planing augmented triads (in #1), quartal chords (in #2), etc. #3 reverses this and uses traditional harmonies but has an ambiguous tonal center. #4 & #5, (not yet ready for presentation) use non-standard harmonies.”

Ivan Arteaga


The sea like a vast silvered mirror
reflects the sky like a sheet of zinc;
distant flocks of birds make stains
on the burnished pale grey background.

The sun, like a round, opaque window
with an invalid's steps climbs to the zenith;
the sea wind relaxes in the shade
using its black trumpet as a pillow.

The waves that move their leaden bellies
seem to moan beneath the pier.
Sitting on a cable, smoking his pipe,
is a sailor thinking of the beaches
of a vague, distant, misty land.

This sea-dog is old. The fiery beams
of Brazilian sun have tanned his face;
the wild typhoons of the China sea
have seen him drinking his bottle of gin.

The iodine and saltpetre foam
long has known his ruddy nose,
his curly hair, athletic biceps,
his canvas cap, his blouse of drill.

Surrounded by tobacco smoke
the old man sees the far off misty land
for which one hot and golden evening
his brig set out with all sails set ...

The siesta of the tropics. The sea-dog sleeps.
Now the shades of grey enfold him.
It is as if an enormous soft charcoal
rubbed out the lines of the horizon's arc.

The siesta of the tropics. The old cicada
tries out his senile, raucous guitar
and the cricket strikes up a monotonous solo
on the single string of his violin.

Composers' Salon | Friday, January 8, 2016

An evening of music and discussion with Seattle composers:

  • Ivan Arteaga
  • Amy Denio
  • Keith Eisenbrey
  • Patrick O'Keefe

Friday, January 8, 2016, 8 pm
Chapel Performance Space
4649 Sunnyside Ave N, 4th Floor
$5–15 donation

November Salon previews

Beth Fleenor

“For the salon I will be presenting Watersong and Disproof, two song-scapes. They are simple immersive sonic meditations that focus on inclusive engagement of energetics in the moment. We are always carrying a story into our hearing of the next story, these song-scapes are reflection pieces, landscapes that allow a place to sit and breathe with all those stories.”

Nadya Kadrevis

“This piece is the final part of the Trinity series, called 'Redemption', with the same instrumentation: soprano sax, piano, cello. In this piece I was exploring space within the narrative (melody) which I originally set as a creation mythology. I set out to find this space within the busy and complex patterns that I wrote out with the intention to solve,and found the solution (redemption) through the response or lack thereof (following notes/instrument). Of course my ultimate goal was striving to please the ear…”

Neal Kosaly-Meyer

“I began active work on the ongoing composition-in-progress, Gradus: for Fux, Tesla and Milo the Wrestler in 2002 after having carried the idea of it around for about two decades previous to that. The idea was, "Learn to play the piano one note at a time." Almost 14 years on, this project of focused systematic exploration of each individual pitch available on the piano's keyboard, along with the combinations thereof, and the silence surrounding and supporting these sounds, continues to yield surprising insights and sensuous rewards.”

Clement Reid

Meditation and Winter are contrasting guitar pieces, one aiming to create a kind of timelessness and reflective feeling, and the other, being more motoric, with a feeling of accelerating activity. I wrote most of the music for both on a week-long train ride! Both sensations of timelessness and motion and urgency seemed part of the experience.”

Nicole Truesdell

“Earlier this year I wrote the Paris Sonatina for a festival. My intention was to musically capture impressions of different Parisian neighborhoods and sites—the chic, royal and historic undertones of the Marais, the quirky, artistic side of the Montmartre, and the romance of placing a padlock on one of Paris's bridges to symbolize your love's eternal flame.”

Composers’ Salon | Friday, November 6, 2015

An evening of music and discussion with Seattle composers:

  • Beth Fleenor
  • Nadya Kadrevis
  • Neal Kosaly-Meyer
  • Clement Reid
  • Nicole Truesdell

Friday, November 6, 2015, 8 pm
Chapel Performance Space
4649 Sunnyside Ave N, 4th Floor
$5–15 donation

September Salon previews

Matthew James Briggs

Radiant Light, for two violins and cello with recorded natural soundscape audio

Jeremy Shaskus

Transference, a collection of 10 pieces that are based off of drum patterns from electronic dance music, hip hop, and other pop music in a chamber setting. This concept was conceived in 2013 after realizing my dream of being a commercial composer. Like many millennials I grew up listening to hip hop and EDM as well as jazz and classical music. When I returned to Seattle after my stay around New York, I wanted to find a way to capture the sound of my generation and expose my friends that don't play or study music to modern, less mainstream art music. What will be performed is what I have finished of this project which is roughly 4 movements.”

Jay Hamilton

“Jay Hamilton with Maurice Colasurdo and Gordon Frazier as the Turtling Dithers will present 3–4 'songs' from their next 'musical', Nothing is What it Seems. The theme is libraries/books/searching and as the title says, the songs chosen are slightly different from our 'usual' folk/blues style and we hope will show various influences from the musical past.”

Michael Owcharuk

"I will be presenting a few recent band compositions in solo piano versions. I have been working towards developing a vocabulary that strives to reflect emotional information in a genuine way. The challenge is navigating the myriad of ways people perceive emotions in instrumental music."