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JamesJOgburn uploaded a new video
(3 weeks ago)
The movements of Proximate Spaces refer to the search for a unified theo...
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The movements of Proximate Spaces refer to the search for a unified theory to explain the fundamental forces, dimensional composition, and existence of matter in the known universe. Much of the pitch material derives from a quasi-tonal hexachord (a group of six pitches), which forms a repeating pattern when three transpositions overlap. This two-octave "scale" includes all chromatic notes, as well three pitches (augmented triad) common to both octaves The work develops the tension between mechanistic devotion to these patterns and episodes of free chromaticism, between strictly repeating rhythms and rhythmic variation, between instrumentation according to families and a free exchange of musical ideas regardless of instrumental grouping. Initially aligned with the mechanistic paradigms of pitch and regular rhythmic patterns, in several places the piano breaks free and attempts to incite revolt against the system by abandoning strict adherence. Ultimately the machine prevails. The work was commissioned by my dear friend Matthew Gillespie and ALIA Musica Pittsburgh and was premiered on April 1, 2008 at St. Paul's Cathedral in Pittsburgh, PA. Tonight is the Asian Premiere of this work.
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JamesJOgburn uploaded a new video
(3 weeks ago)
The movements of Proximate Spaces refer to the search for a unified theo...
more
The movements of Proximate Spaces refer to the search for a unified theory to explain the fundamental forces, dimensional composition, and existence of matter in the known universe. Much of the pitch material derives from a quasi-tonal hexachord (a group of six pitches), which forms a repeating pattern when three transpositions overlap. This two-octave "scale" includes all chromatic notes, as well three pitches (augmented triad) common to both octaves The work develops the tension between mechanistic devotion to these patterns and episodes of free chromaticism, between strictly repeating rhythms and rhythmic variation, between instrumentation according to families and a free exchange of musical ideas regardless of instrumental grouping. Initially aligned with the mechanistic paradigms of pitch and regular rhythmic patterns, in several places the piano breaks free and attempts to incite revolt against the system by abandoning strict adherence. Ultimately the machine prevails. The work was commissioned by my dear friend Matthew Gillespie and ALIA Musica Pittsburgh and was premiered on April 1, 2008 at St. Paul's Cathedral in Pittsburgh, PA. Tonight is the Asian Premiere of this work.
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JamesJOgburn uploaded a new video
(3 weeks ago)
23 January, 2012 - Mahidol University College of Music
Old Pros Trombone ...
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23 January, 2012 - Mahidol University College of Music
Old Pros Trombone Choir, James Ogburn, cond.
"Sun Bathing in an Isaac Vortex investigates the versatility of the trombone. The piece begins with a quiet slow chorale-like section that explores the vocal quality of the instrument. By contrast, the next section is fast and percussive, with notes flying around the ensemble, exploring the virtuosity and register timbres of the trombone. The intensity builds to a climax with a grand return of the opening material. The work ends with a slow decay." -RWP
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JamesJOgburn uploaded a new video
(1 month ago)
4 August, 2011, 19:00 Mahidol University College of Music, MACM
Agrita La...
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4 August, 2011, 19:00 Mahidol University College of Music, MACM
Agrita Lakute, fl., Christathai Paksamai, cl., Wannapha Yannavut, perc. Parvati Mani, pno., Sittichai Pencharoen, vln., Juris Lakutis, vc., James Ogburn, cond.
Phleng Sansoen Phra Barami is the Anthem of the Royal Family of Thailand, commonly referred as the "King's Anthem." The lyrics were composed by HRH Prince Narisaranuvadtivongs around 1913. The composer of the music is unknown. The arrangement featured here was prepared by James Ogburn.
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JamesJOgburn uploaded a new video
(1 month ago)
4 August, 2011, 19:00 Mahidol University College of Music, MACM
Amy Galbr...
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4 August, 2011, 19:00 Mahidol University College of Music, MACM
Amy Galbraith Ogburn, ob. solo, Christathai Paksamai, cl., Wannapha Yannavut, perc. Parvati Mani, pno., Sittichai Pencharoen, vln., Juris Lakutis, vc., James Ogburn, cond.
Reflections (2007) for oboe and chamber quintet is in four movements and is dedicated to the composer's daughter, Amy. It received first performance at Amy Galbraith's final doctoral recital at West Virginia University (where she holds the distinction of being the first person to defend an oboe performance D.M.A.). The form of the work follows a clear and fulfilling trajectory (fast-slow-slow-fast). In movement I, Reflections ("playfully"), one imagines the dedicatee as a child, frolicking in a Pennsylvania field. Movement II, Shadows ("eerily, with a gentle sadness") lends insight into a maternal concern. As the listener, we gain insight into the young woman's capacity for empathy, even if at the detriment of her own well-being. In movement three, Hymn ("with a simple serenity") the connection between mother and daughter comes to the fore, coupled by the mother's recognition of her daughter's attunement to her spiritual self. The Finale ("driving") is a frantic observance, probably referring to the admiration a mother holds for the ambition and initiative of her daughter.
Nancy Galbraith (b. 1951) has been composing music since the late 1970s, creating instrumental and vocal sound praised for its rich harmonic texture, rhythmic vitality, emotional and spiritual depth, and wide range of expression. With major contributions to the repertoire of symphony orchestras, concert choirs, wind ensembles, chamber ensembles, electro-acoustic ensembles, and soloists, Galbraith plays a leading role in defining the sound of contemporary classical music. Nancy Galbraith resides in Pittsburgh, PA (USA), where she is Professor and Chair of Composition at Carnegie Mellon University. She is published by Subito Music. For more information, visit the composer at nancygalbraith.com.
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