Lewis & Clark College Presents
A Little Aqueous Music
Spring Composition Recital
Wednesday 27 April 2016 | 7:30 pm
Evans Auditorium, Portland, Oregon



Oswald Huynh (b. 1997)

This piece begins with a stately theme and a contrasting flowing melody that are both used throughout the piece in different forms. In the second half of the movement, a playful and mischievous motif is introduced. I experiment with some counterpoint and rhythmic augmentation to create various moods.


Ruth Linneman (b. 1997)

I wrote Through a Dream based on the sensation experienced when wandering around in a dream. I utilized the Dorian mode (raised 6) throughout much of the piece to create an ethereal, dream-like landscape. I kept the texture light and simplistic, and included long sections of held pedal to create a surreal atmosphere.


Kevin Fox (b. 1995)

Water has always had a special place in my heart, having grown up a competitive swimmer. The feelings I've experienced while swimming and being in water are vast, and each of these movements attempts to capture those emotions. These experiences are not just limited to swimming, but are relatable in anything you spend hours doing, be it work, another sport, or a hobby.


Jeremy Bacharach (b. 1993)

Harmony has always fascinated me. I also love the way instruments with their unique timbres bring a beautiful lyrical quality to the melodies they play. In this piece, I've attempted to join my two favorite things about music in hopes of creating an alluring eurhythmic dialogue between the players and instruments.


Hana Chwe (b. 1996)

I wrote Water about a river's journey to the ocean. The river starts off as a stream, which falls off a waterfall and lands in a pond. I wanted Water to sound like water in all its forms: peaceful, choppy, swift, and expansive. "All water has a perfect memory and is forever trying to get back to where it was." - Toni Morrison


Oswald Huynh (b. 1997)

This work was written by request of the soloist, Jemma. The title of the piece began as a joke and filler, but as I began writing it, I found myself using the title as a source of inspiration. The euphonium and piano 'echo' each other constantly in both movements, sometimes in a call-and-response and at other times in a subtle manner.


Blake Murray (b. 1995)

The first movement begins with a pure feeling and a simple melody. As the piece progresses, this theme contin-ues to appear and is manipulated by other musical content. In the end, the melody is stretched out in the clari-net voice as the other instruments wash it away.

The second movement begins freely with a piano solo. Then, as the violin and clarinet enter, each instrument is entangled within the other—as they trade rhythmic patterns. As the repetitive trap continues, the instruments slowly find freedom and are released.


Special Thanks
The Lewis & Clark Department of Music, Department Chair Katherine FitzGibbon,
Jessica Sweeney, Susan Nunes, Bailey Dean, Oswald Huynh, Iris Shanks,
Helena Zi Huey Lam, Haines Whitacre, Mia Hovila, Alan Niven.


Produce by Alan Niven and wolftraks.com with two cameras and five channels of audio.

Click here for or more information about the Lewis & Clark Department of Music.