My Awarded Projects
Pillars and Glisses
I observed a simple grill covering the organ across the back wall and was immersed in its implicit motion and systematic structure...Created By: Nomi Epstein
Power in Sound: The Music of Galina Ustvolskaya
Chicago New Music Community presents first large-scale Ustvolskaya Concert Festival and Symposium in the United StatesCreated By: Chicago Ustvolskaya Festival
I’m a Chicago-based composer, and also a curator and performer in my ensemble a.pe.ri.od.ic.
Writing music is an exploratory and experimental experience, where I find myself in a discourse with sound. I am drawn to create intimate sound worlds where music is presented in a very bare form, without pretense. The small palettes of sound in each piece are chosen after researching the capabilities of the instrument(s) I’m writing for. I am interested in the specific quality of a sound, and exploring different types of sound that pitch is only a part of.
My works demonstrate a conception of sound as object, or sound-sculpture composition, where material is realized as tactile, space-occupying structure, without expressive, gestural objectives. Music lies between the static and dynamic forming an understated surface activity; contrast between elements are generally subtle and without extroverted qualities. I seek to create sound spaces that the listener can choose to enter. Inside, one finds a sense of timelessness where one’s perception of time may be altered. As an outsider or as a participating listener, one witnesses the way sound forms, its inner construction. Considerable effort goes into making a work which
TRIO FOR FLUTE, CELLO, PIANO
Shanna Gutiérrez, Benjamin Kulp, Matthew Gemmill
FOR CAGE 99
Nomi Epstein For Cage 99 (2010) For 2 or more performer and a timer (conductor) ACA Music residents and audience members (voice) This piece was written as part of a concert to celebrate the 99th anniversary of John Cage’s birth. Each piece on the celebration concert was to pay homage to John Cage and to be no longer than 4’33”. An ideal performance of this piece would have all those present in the concert space, including audience members, performing.