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Ingrid Stölzel

Lawrence, KS         

Composer Ingrid Stölzel has been described as having “a gift for melody” (San Francisco Classical Voice) and “evoking a sense of longing” that creates “a reflective and serene soundscape that makes you want to curl up on your windowsill to re-listen on a rainy day.” (I Care If You Listen)   

Stölzel’s compositions have been commissioned by leading soloists and ensembles, and performed in concert halls and festivals worldwide, including Carnegie Hall, Merkin Concert Hall, Kennedy Center, Seoul Arts Center, Thailand International Composition Festival, Festival Osmose (Belgium), Vox Feminae Festival (Israel), Dot the Line Festival (South Korea), Ritornello Chamber Music Festival (Canada), Festival of New Music at Florida State (USA), Beijing Modern Music Festival (China), Festival of New American Music (USA), and SoundOn Festival of Modern Music (USA). Her music has been recognized in numerous competitions, among them recently the Suzanne and Lee Ettelson Composer’s Award, Red Note Composition Competition, the Robert Avalon International Competition for Composers, and the Kaleidoscope Chamber Orchestra Competition. Recordings can be found on various commercial releases including her portrait album “The Gorgeous Nothings” which features her chamber and vocal chamber music. Stölzel teaches composition at the University of Kansas School of Music. For more information: www.ingridstolzel.com

The Voice of the Rain for Flute, Cello and Marimba/Vibraphone

Words are the inspirational seeds for much of the music I compose. “The Voice of the Rain” takes its title and inspiration from Walt Whitman’s poem “The Voice of the Rain” from “Leaves of Grass.” Whitman beautifully describes the world as an everlasting cyclical process of giving birth to itself and giving back life to its own origin.

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The Gorgeous Nothings for Soprano, Flute, Oboe and Piano

“The Gorgeous Nothings” takes its title and inspiration from the facsimile publication of Emily Dickinson’s complete envelope writings edited by Marta L. Werner and Jen Bervin. These beautiful fragments range from completed, self-contained short poems to mere thoughts hastily expressed on scraps of paper. I was drawn to these sketches as they seem to give us a glimpse into Dickinson’s creative process.

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To One Beyond Seas for Soprano, Violin and Piano

When I first encountered the poetry of Mohawk-Canadian poet Emily Pauline Johnson (1861–1913), also known in Mohawk as Tekahionwake, I was moved by her unique and strong poetic voice. “Autumn’s Orchestra,” a suite of ten short verses, is a powerful mediation on nature and life. Throughout the poem, Johnson uses vivid visual and auditory imagery as well as symbolism, which inspired my own musical imagination and became a driving force behind my setting. “To One Beyond Seas” was commissioned by NAVO.

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