Madonna of the Lilies
Originally from Buffalo, NY (USA), born in 1998, Jared Destro is a composer currently based at the Royal Welsh College of Music and Drama in Cardiff (UK), while he works on completing his Masters of Composition (MMus). There, his primary tutors include composers Lynne Plowman and Joseph Davies. His music can best be described as easily-accessible for most, as it is often modal and written with meticulous care for the listener. In addition to many others, some of his primary influences when composing include Carl Nielsen, Gustav Mahler, Sergei Prokofiev, and Frederick Delius.
Starting first as a classical piano improviser, Jared quickly moved into composition from there. However, he did not fully begin his musical pursuits until the age of 18. Now 22, he has written well over a hundred compositions, and has been fortunate enough to work with a wide variety of musicians from many different places. Recent commissions include a violoncello/double bass duet for the Berliner Philharmoniker, a work for guitar quartet, and a large-scale cantata for a student-run project.
Upcoming projects include a performance of his Youth Fanfare on Hilma af Klint by the London-based Ernest Read Symphony Orchestra, conducted by Christopher Stark; as well as his first major orchestral work, Harvest Festival by the RWCMD Symphony Orchestra under conductor David Jones in St. David’s Hall.
As he enters into the last years of his education, Jared has recently been working on numerous compositions geared toward community engagement, fusing the talents of those more experienced performers with the aspirational hopefulness of younger musicians. Though, much like his music, his own path has been improvisatory and free-flowing, so he has yet to discover where his roads might take him.
In one movement, this is a painting that is comprised of two main sections: the dumka, which is often contemplative and moderately paced; and the furiant, which is very quick, alternating between groupings of two and three.
The music begins with the dumka, which normally precedes the furiant. First, a portrait of the Virgin Mary, a section that is bright, metallic, and pure in candor. This is quickly contrasted by a portrait of the young Slavic girl from the painting, whose face is stoically firm and pensive. This section is powered by sounds of brass, wood, and earthly hearth – an antipodal reply to the crystalline texture that preceded.
The two sections conjoin into a jagged, but concordant responsory dance before erupting in a tremendous clamor, beginning the furiant.
Journeying through numerous terrains, the springy avian dance that predominates the dance crumble back to the opening material of the dumka. In a nostalgic pious recitation, a solo horn concludes the piece with the opening melody.
Double Third Festival
An outstanding and active young Chinese composer born in Shaanxi in 1990, Jiazi Shang is pursing his Doctoral Degree at the composition department of the Central Conservatory of Music in Beijing, under the Professor Wenjing Guo, the famous composer in China. Jiazi has collaborated with China Philharmonic Orchestra, Beijing Philharmonic Orchestra and Central Ballet Symphony Orchestra for many times.
His compositions spanned all music elements and styles, such as chamber music, symphonies, operas, dance dramas, musicals, etc. His main works include the chamber music Elegy for Qin, The Waves of Rage, percussion ensemble The Echo of The Miaoling Mountains, violin solo Lingering Charm of Qin Opera, the dance drama On the Heart, the chamber opera Five Sons Buried the Father, the musical Ballads of the Yellow River, the symphony Calling the Ferry Man, The Old Roads of Great Wall, the film scoring Wang Gui and Li Xiang xiang and so on.
March Third on the Chinese lunar calendar is as important as the Chinese New Year for many ethnic minorities in China, such as Miao and Nakhi. During the festival, people will dress on their national costume and take part in the folk song fairs. They sing together to pray for a bumper harvest, honor their ancestors, pay tribute to mountains and rivers, and perform sacrificial rituals in the hope of getting rid of bad luck. Double Third Festival uses the unique tones of these ethnic minorities as the material to demonstrate the festival scenes.
Joshua Reed is a composer and saxophonist based in southeast England, born in 1986. He has studied composition with Robert Mueller, Philip Parker, Paul Dickinson, and Kenneth Futterer and studied saxophone with Jackie Lamar and Kenneth Futterer. His music has been performed throughout the United Kingdom, United States, South America, Europe, Australia, and Asia.
When he’s not composing, practicing, or working he enjoys cooking, gardening, and reading alarming amounts of sci-fi/fantasy literature.
In the far reaches of the north, during the endless night of the arctic winter, solar winds disturb Earth’s magnetosphere. On the ground, people look up from the shimmering snow in wonder as the aurora borealis – the northern lights – sparkle in the sky. Capricious, ever-shifting in colour, texture, and shape, they shimmer and dance in the air like magic. The lights coalesce from nothing into a spectacular, ephemeral display before fading again, leaving behind nothing but the stars and a memory of magic.
Frank J. Cogollos Martínez
Frank J. Cogollos Martinez (born in 1977) has a degree in Musical Direction, with a specialty in Wind Orchestra from the Royal Schools of Music in London. He is a Primary and Musical Education Teacher by the University of Valencia. He obtained the title of Elementary Violin Degree and Percussion Professor at the Mestre Vert Conservatory. He studied Orchestra and Band Conducting at the Conducting School of Maestro Navarro Lara, obtaining the qualification of Excellent, Cum laude.
He has taken Direction courses with the Masters Jose Rafael Pascual Vilaplana, Jan Cober, Rafael Sanz Espert, Ferrer Ferran, Ramón García, Rubén Gimeno, Cristóbal Soler, Paulo Martins and Francisco Navarro Lara. He has been a percussion teacher in different Music Schools. He has been part of various groups such as the Carcaixent Conservatory Orchestra, the “Lira Carcaixentina” Symphonic Band, Ibiza Municipal Music Band, Sta. Eulalia Municipal Band and Ibiza Town Symphony Orchestra. He has been the violinist for the group “Projecte Mut”, within which he has recorded 6 albums. He has also recorded with Ressonadors and Chris Martos. His works have been published by “Edicions 96”, “Tot per l’aire”, “Biblioteca Música Jove”, Branfor.com and Omnes Bands. His compositions are performed all over the world and have been recorded on different CDs.
As a composer he has a total of 30 awards. As Guest Conductor, he has performed concerts with the Municipal Band of Ibiza, Santa Eulalia Youth Band, Carcaixent Lyra Symphonic Band, Santa Eulalia Municipal Band, Ibiza Symphony Orchestra, Santander Municipal Band and SMRO Youth Orchestra of Óbidos (Portugal) . He has been Salvador Brotons´conductor assistant in the Young Orchestra of Ibiza. He is the founding director of the Sant Antoni de Portmany Municipal Band that he currently conducts. With this band he recorded the Cd Mar de Sons. He is a member of the National Association of Band Directors of Spain (ANDB) and the Territorial Delegate of the Balearic Islands of this association. He recorded the album Ressonadors Simfònic as the conductor of the Orchestra.
Sea has always fascinated humans: its mystery, its power, its ever-changing precious surface togheter with its marine biodiversity… Sea attracts us. It produces an almost magical influence on people. Emotions such as serenity or strength accompany our thoughts when looking at the sea. Sea Winds is inspired by the different states of the sea. So when listening to it you can feel and imagine from a calm sea to a rough sea, from naval battles to the peace that it offers us.
Ecce, reges deiectos!
Brian Field’s music is an eclectic fusion of lyricism and driving rhythm that brings together elements of postromanticism, minimalism and jazz. He has received a host of awards, including the RMN Classical recording prize,the Benenti Foundation recording prize; First Prize, Briar Cliff Choral Music Competition; and First Prize, Victor Herbert ASCAP Young Composers’ Contest among many others.
Brian Field was born in 1967 in Minneapolis. He began his musical endeavors at age eight with the study of piano, and began his first serious compositional efforts at sixteen, earning his undergraduate degree in music and English literature from Connecticut College, wherenhe graduated Magna Cum Laude, Phi Beta Kappa. At Connecticut, he studied composition with Noel Zahler, pianonwith the Polish pedagogue Zosia Jazinovich, organ with John Anthony, and harpsichord/figured-bass realization with Linda Skernick.
Devoting himself to composition, Mr. Field continued his musical studies at the Juilliard School in New York City where he was awarded his Master of Music degree. At Juilliard he was a student of Milton Babbitt. From Juilliard, mr. Field attended Columbia University, earning his Doctorate. At Columbia, he was a President’s Fellow and studied composition with George Edwards and Mario Davidovsky.
Mr. Field’s musical works include music for television and stage; solo acoustic, chamber, ballet, choral, electroacoustic and orchestral works. His compositions have been performed throughout the United States and internationally and are recorded on RMN Classical, Parma Recordings and Ablaze Records.
Ecce, reges deiectos! (Behold, Fallen Kings!) is a work for wind orchestra in which melodic fragments are continuously transformed over the span of six minutes, combining and shifting between traditional and sometimes hypnotic rhythms and more syncopated and irregular ones.
The dominant motif for the entire work is first heard in the opening timpani theme, which is subsequently woven throughout the entire piece, passed from instrument to instrument, and deconstructed into a three-note form that is further extended and expanded upon.
The title for the piece was inspired by a somewhat abstract image I viewed that I interpreted as a confrontation of two kings that find themselves both equally and similarly fallen, deposed or dead, in a pyrrhic confrontation and struggle.
- Aftermath – Fran Griffin (Australia)
- Atrato (Memorias, Suenos y Vientos) – Andres Mauricio Acosta Rojas (Spain)
- Aurora – Joshua Reed (Great Britain)
- Awake, Arise, Affirm – Michael Russ (Great Britain)
- Big Scottish Heart – Cam McAllister (Australia)
- Blindness for wind ensemble – Laehwang Jang (South Korea)
- Cycle of Life – Mario Gagliani (Italy)
- Digressioni e Pensieri n. 2 – Nino Calcagno (Italy)
- Double Third Festival – Jiazi Shang (China)
- Ecce, reges deiectos! – Brian Field (USA)
- Growing Light – Daniel Eisenhardt (Germany)
- In the Tower – Dariusz Bańka (Poland)
- Independent People – Chak Hang Chan (Hong Kong)
- Let the Sand Rest Upon Dragonspine – Robin Lilja (Sweden)
- Madonna of the Lilies – Jared Destro (Great Britain)
- Mass surge – Marco Lehne (Germany)
- Miracle of the Vistula – Paul Saggers (Great Britain)
- Miracolo della Vistola – Marcin Król (Poland)
- Prins Hatt – Olle Martinsson (Sweden)
- Puff – Jakub Polaczyk (Poland)
- Reflections in Moving Water – Thomas Foster (Great Britain)
- Rhapsody on Japanese Nursery Rhymes – Junya Negishi (Japan)
- Sea Winds – Frank J. Cogollos Martinez (Spain)
- Shunangui – Junxiang Liu (China)
- Stowarzyszenie Wejście – Philip Tovell (Great Britain)
- The Parade Grounds – Erik McIntyre (Canada)
- Thence – Feliksas Bajoras (Lithuania)
- To you Bulgaria – Nikolay Lukanov (Bulgaria)
- Utakata no sora (Stardust) – Yusuke Hagihara (Japan)
- Vortex – Concertino for Wind Ensemble – Sami Koivuneva (Finland)
- When The Volcano Blew – Tom Gontier (Norway)
Marcin Molski – born April 18, 1999 in Poznań. In 2014 he graduated Karol Kurpiński 1st Stage State Music School No. 4 in Warsaw in the class of Professor Elżbieta Turska, and in 2020 the Józef Elsner 2nd Stage State Music School in Warsaw in the class of Professor Michał Jarmuła. He is currently a composition student at the Fryderyk Chopin University of Music in Warsaw in the class of Professor Aleksander Kościow. He took his first steps in the art of composition under the supervision of Professor Sławomir Czarnecki.
Laureate of the competitions: 1st prize and audience award in the 18th National Composers Competition of the Fryderyk Chopin University of Music for the piece “Ekspresje” (2017), Third Prize in the International Composers Competition “Jugend Komponiert” in Potsdam for the work “Times” (2017), 3rd prize in the 4th Piotr Perkowski National Composers Competition for the piece “Nowa Perć” (2018), 2nd prize in the 6th National Composers Competition for a choral passion work with the text in Kashubian language for the work “Lk 23,33” (2019) and 1st prize in the Fryderyk Chopin University of Music Student Composers Competition for the work “Essay” for solo double bass (2019).
His works have been performed at numerous concerts and festivals, including the International Festival of Flute Orchestras and the International Viola Congress. He has cooperated with outstanding artists such as Lech Bałaban, Agata Igras and Radosław Labahua. The largest part of his compositions are chamber music.
The AA20 was created in mid-September 2020. It was inspired by a cruise on Masuria, which I did with friends in early September. I was delighted by the reflection of the sun in the slightly wrinkled surface of water. After further observations, I noticed what the wind does to the water on the lake. I was fascinated by how the different layers and waves interweave with each other. The water was flickering, and I wanted to render this flickering in the music. But I didn’t want this piece to be a representation of water, but to turn into something abstract (just like water itself when you look at it without context). Therefore the title of the piece means nothing. It is inspired by the titles of Zdzisław Beksinski’s paintings, which were not de facto titles, but alphanumeric signs. The same is true of AA20, where letters are the first letters of the alphabet, while the number 20 refers to the year in which the work was created.
(born 31.03.1996 in Wejherowo) composer, arranger and conductor. Student of composition in the Gdansk Academy of Music in the class of Dr Marek Czerniewicz. The effect of his broad musical interests is the creation of classical music as well as film and entertainment music.
In his work, the composer pays special attention to the expressive and formal sphere of his compositions, thus making it accessible to every listener. His music has been awarded at composition competitions, both nationwide and International (USA). Krzysztof Falkowski’s works can be heard during various concerts, galas and festivals in Poland and abroad (e.g. Germany, Peru, Lithuania, Denmark, USA).
He is particularly close to the arrangement, with which he has been associated for over 10 years. Initially, these were pieces for wind orchestras, where he trained his performing skills as a drummer and conductor, often conducting rehearsals and concerts. Recently, he working with vocal ensemble 5/6, for which he writes arrangements and original compositions.
Krzysztof Falkowski has taken part in several record projects, e.g. 3 records with the Władysławowo Wind Orchestra (drums, arrangements, music production), a CD “Loneliness” by Jagoda Wojciechowska (choir) and “Nieoblicza” by 5/6 (arrangements, compositions, music production).
Despite his young age, the composer has received a large number of awards and scholarships, including scholarships from the Rector of the Gdansk Academy of Music, a scholarship from the Mayor of Puck Commune and a scholarship from the Minister of Culture and National Heritage of Poland.
Warsaw Wind – a piece which is a musical portrayal of Warsaw as a city of opportunities, great aspirations and career pursuit. Warsaw Wind is supposed to reflect the spirit of Western civilisation and the feelings of admiration of the metropolis that accompany those who want to fulfil their “American dream” in this city.
Born in 1987, graduate of the Academy of Music in Katowice at the Faculty of Jazz and Popular Music in the saxophone class, arranger, conductor, composer and pianist. He conducts the Baczków Wind Orchestra and arranges for other orchestras and ensembles. He takes part in various television productions and various musical undertakings.
Polish conductor and arranger Adam Sztaba wrote about works by Wojciech Zwierniak that he arranged on the album of the Baczków Orchestra for the 100th anniversary of Polish Independence: “The first impression after coming across the Baczków Orchestra’s album ‘100th Anniversary of Independence’ are the arrangements – perfectly and sensitively written by Wojciech Zwierniak. The type of creative arrangement, in which you can clearly hear his own idea for a new approach to the well-known works, has always been very rare and at the same time very affordable”.
Karol Pyka (born in 1984 in Siemianowice Śląskie) – composer, arranger, conductor, session musician, pedagogue, assistant professor at the Institute of Music Arts at the Faculty of Art and Education of the Silesian University. A graduate of the Faculty of Arts of the University of Silesia in a conducting specialisation in the Institute of Music and a specialisation in composition and arrangement at the Jazz Institute of the K. Szymanowski Academy of Music in Katowice. In 2015, he obtained a doctoral degree in the discipline of conducting at the Faculty of Conducting, Jazz and Music Education at the F. Nowowiejski Academy of Music in Bydgoszcz.
Participant of numerous conferences, workshops and musical events, concerts and festivals, domestic and international, in the role of instrumentalist (e.g. New Tradition, Woodstock, Rawa Blues festivals), as well as the chorus of the Silesian University Representative Choir “Harmonia” and the Chamber Choir “Ad libitum” (e.g. Busan Choral Festival & Competition (South Korea), Montreux Chorale Festival (Switzerland). The author of scientific publications and reviews by PWM Edition.
Since 2009 conductor of the Representative Orchestra of the AGH University of Science and Technology in Kraków. He has performed with this ensemble, with numerous successes, at festivals of wind orchestras in Poland and abroad (e.g. 1st prize at the Diffwinds Festival 2010 in Luxembourg, 2nd prize and distinction for the best conductor at the Festival Internazionale Bande Musicali Giulianova 2013 (Italy), Grand Prix at the XXV International Wind Orchestras Festival ‘Golden Lira’ in Rybnik (2016), 1st place at the 2019 WAMSB World Championships organised by the World Association of Marching Showbands in Calgary (Canada). He recorded 5 albums with this orchestra.
Since 2012, conductor of the Cieszyn Wind Orchestra of the University of Silesia, with whom he has also performed on festival stages in Poland and abroad (including 1st place during the 5th International Wind Orchestra Festival of the Krzyżanowice Municipality in 2017, Silver Diploma during the 15th International Wind Orchestra Festival ‘Golden Trumpet 2017’, Golden Strand in the competition during the 21st International Wind Music Festival Prague 2019). He also recorded a CD with the band on the occasion of the Orchestra’s 30th anniversary.
In 2010-2013, conductor of a part-time studies big-band at the Academy of Music in Katowice, and from 2015, teaches conducting classes at the Jazz Institute of this academy. He is the author of numerous orchestral and choral arrangements, as well as popular and jazz music for various instrumental ensembles. Winner of the 1st place in the 4th “Fide et amore” International Compositon Competition in Żory in 2020 and the 3rd prize in the 2nd Andrzej Koszewski International Composition Competition at the Ignacy Jan Paderewski Academy of Music in Poznań.
For his composition Zawrat, Karol Pyka took inspiration from the landscape of the Polish High Tatra Mountains. The composition is a small overture for wind orchestra, with a changeable mood, in the character of illustrative music.
(born in 1978 in Bytów); conductor, composer, arranger. Graduate of the Academy of Music in Gdańsk (clarinet) and the Fryderyk Chopin University of Music in Warsaw (symphony and opera conducting). Head and conductor of the Symphony Orchestra of the Representative Artistic Ensemble of the Polish Army Forces in Warsaw. He cooperates with leading orchestras and artists of the Polish scene. For many years he has been the conductor of festivals and concerts – both entertaining and classical. His repertoire of stage works includes such titles as La Traviata, Rigoletto, The Barber of Seville, The Haunted Manor, The Csárdás Princess, The Merry Widow, Fiddler on the Roof.
As a composer and arranger he cooperates with leading Polish artists creating many works – chamber, vocal and orchestral. In his rich artistic career he represented Polish and world repertoire on many trips abroad Poland. Since 2016 he has been the artistic director of the Anna German Song Festival in Warsaw. Since 2015, he has been the conductor of the Warsaw University of Life Sciences Representative Orchestra.
born 1975 in Cracow – composer, arranger, score reconstructor and double bass player. He graduated the Academy of Music in Cracow.
His works are performed during the International Days of Cracow Composers, by the Częstochowa Philharmonic, Zielona Góra Philharmonic and also by Cracow’s chamber ensembles.
The composer cooperated with the PWM Edition and the Silesia-Film label reconstructing the lost scores of Wojciech Kilar’s film music. Sarnecki collaborates with the Cracow Opera as a double bass player, as well as with Big Band “Krak” as a composer, arranger and score reconstructor. His interests include neo-romantic, impressionistic, entertainment and jazz music.
Why JOKE? Maybe because I like joking and I highly appreciate the sense of humour? Maybe because, in my opinion, it is much more difficult to achieve in art – not only in music, comedy, than tragedy and pathos? Or maybe because I have already composed Scherzo for wind quintet, Scherzo for double bass and symphony orchestra, and now there is a great opportunity to write a Joke for wind orchestra?
I think that each of these answers contains an important part of the truth. But I leave that to the discretion of the listeners. On the other hand, I can assure you of one thing. Well, composing JOKE I had a great time and I wish you that all the activities and responsibilities would give you at least as much joy and satisfaction as for me writing this work.
(born in 1976), composer and arranger from Tarnów. A graduate of the Academy of Music in Cracow in the percussion class and the Academy of Music in Katowice in the field of Composition and Jazz Arrangement. His specialty is not difficult arrangements created with the following in mind amateur brass bands and big-bands.
The miniature Weselisko is a joke referring to the rubbish side of Polish folklore. It contains motifs and rhythms from folk dances, subversive harmony and the use instrumental solutions from traditional marches. It consists of three episodes: I. Moonshine, II. Unveiling and capping ceremony, III. There will be a battle.
- AA20 – Marcin Molski
- Bagatela – Wiktoria Pereyma
- Batalia – Adrian Drzewi
- Carpathian voyage – Paweł Konkol
- Four Shadows of the Samurai – Adam Goik
- Hachiko – Wiesław Pluskota
- Joke – Piotr Sarnecki
- Marsz Medalistów – Ryszard Siwy
- Polonez Uroczysty – Stanisław Kowalkowski
- Rajtarska fantazja – Dariusz Umięcki
- Sztandar – Roman Kielar
- Szumbrass – Wojciech Zwierniak
- Tchnienie wolności – Tomasz Labuń
- Unter der linden (Aleja pod Lipami) – Jakub Polaczyk
- Uwertura Koncertowa “Wojsko Polskie” – Marcin Król
- Warsaw Wind – Krzysztof Falkowski
- Weselisko – Bartłomiej Szułakiewicz
- Zawrat – Karol Pyka