Dr. Vera Ivanova, Composer
Vera Ivanova,
composer

'...internationally recognized as an emerging artist of great talent.'

Campus Times (University of Rochester/Eastman)

Selected Works (1996-Present)

6 Fugitive Memories, for piano (2015)
These short miniatures represent six dedications to composers who have anniversaries in 2016, when this cycle to be premiered by the pianist Nadia Shpachenko. I decided to remove my compositional style and instead recall through quotations and allusions the pieces of composers to whom each miniature is dedicated.

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Aftertouch, for Piano (2005)
This title Aftertouch implies the composer’s intent to make the listener pay attention to the life and death of each sound with regard to the variety in attacks and decays.

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Aura, for clarinet solo (2011)
Greek in origin, the word "Aura" has multiple meanings, which stand for "air; atmosphere; sensation..." These meanings are interpreted in the piece through the use of extended techniques.

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Bachiolage for cello, miniature (2013)
In my piece "bariolage" is applied to a combination of open strings and harmonics, thus emphasizing even stronger the contrast in tone-colour. The title plays with two words: Bach (the BACH motif) and "bariolage" (technique), merging the two words into one, just like the a fast alteration between open strings and harmonics merge in a contrasting tone-colour texture throughout the composition.

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In Cage with Adams (2013)
Version of "Mbira" for toy piano (or piano).

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Mbira (In Cage with Adams) (2012)
Mbira (or In Cage with Adams) was composed in 2012 for the pianist Aron Kallay, the first performer of the piece.

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Quiet Light, violin solo (2009)
"Quiet Light" refers to the special natural lighting that one can see in an old Russian Orthodox Church. It is dedicated to David Liptak, my composition teacher.

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Three Studies in Uneven Meters, etudes for piano (2011)
Three Studies in Uneven Meters were composed in the Spring of 2011. This set of etudes is dedicated to several 20th-century composers, who influenced my music in the past (Bartok, Kagel, Stravinsky, Piazzolla, Scriabin) and whose compositional technique is referenced in these three pieces: 1. BartoKagel (and a little bit of Stravinsky), 2. Canon à la Piazzolla (descending canon with all voices sustained), 3. Scriabinesque (fleeting cycles).

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C-A-G-E for ensemble, collaborative work (2013)
composed for CAGE100 Party Pieces Project

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Chant, for Soprano and Six Instruments (2001)
Premiered at the Dartington Summer School (Dartington, U.K.).

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Fragments, for Piano Trio (2004)
Premiered at the Harris Concert Hall, Aspen Music Festival (Aspen, CO, U.S.A.) by Polina Kozhevnikova, Emily Brausa, and Elizabeth Etroyer.

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Night Music, for fourteen players (2001)
Night Music was premiered in 2001 at the Kilbourn Hall of the Eastman School of Music by OSSIA New Music, conducted by Jairo Duarte-Lopez.

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Refrains & Ritornellos, for Nine Players (2004)
Premiered at the Kilbourn Hall of the Eastman School of Music by Musica Nova, conducted by Brad Lubman.

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Sagittarius, mixed quintet (2015)
The Sagittarius was commissioned by 2015 Sound Ways Festival in Saint Petersburg, Russia. It is in essence variations on Karlheinz Stokhausen's "Sagittarius" from his "Zodiac" ("Tierkreis;" 12 short movements written originally for a music box set 12 zodiac signs), an open-instrumentation work that can be played in any version by any ensemble or soloist.

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Six for Six, for 6 players (2004-05)
Premiered by the Moscow Contemporary Ensemble at the Great Hall of the Moscow Composers’ House. 3 movements are in progress.

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Skyward, for Qudi/Bangdi/Xiaodi, Sheng, Zheng and Erhu (2016)
I wrote this piece while in residency at the Kimmel Harding Nelson Center for the Arts in Nebraska, where the artists of different disciplines (writers, artists, composers) are given an opportunity to dedicate all their time to creative work. When I was writing this piece, I was fascinated by images of sky, simple patterns based on numbers, and the sound of the traditional Chinese instruments: unique timbre of Sheng, the human voice-like expressive qualities of Erhu, versatility of Guzheng and the timbral qualities of Qudi (its "roundness') and Bangdi (its brightness).

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Song not Sung, for String Quartet (2001)
Premiered at the Guildhall School of Music and Drama (London, U.K.) by Olivier Pigeut, Carolina Seibt, M.-L. Anton, Kalina Dimitrova.

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Still Images, large ensemble (2008)
"Still Images" is a version of the piece composed earlier, "Still Images of the Restless Mind."

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Surface Tension, for Violin and Koto (2006)
The title of this piece was inspired by the visual similarity of the motion of water, being disturbed by an object (such as a stone), and a vibrating string, being plucked (on koto and violin) or bowed (on violin). Both the water and the string produce waves (vibrations), which we see on the surface of water, and which we hear as sound waves.

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The Laughing Man Alphabet, duet (2013-14)
The title of the piece ("The Laughing Man Alphabet") refers to the last name of the contemporary German composer Helmut Lachenmann (b. 1935), whose last name, loosely translated to English, means "laughing man." The reference will not limit itself only to the title of the piece; my musical idea is to incorporate Helmut Lachenmannan's suite for piano " Ein Kinderspiel" (Child's play," a suite of seven little pieces composed in 1980) as a framework in my own composition, shaping the form as seven variations on Lachenmann's seven little piano pieces. A particular emphasis (in terms of musical references) is given to the first piece from the suite, "Hanschen Klein" (translated to English as "Little Hans"), because of its importance and placement (as an opening movement) in Lachenmann's suite.

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The Underworld, string quartet (2015)
The idea of the piece came to my mind when I was reading Sarah Ruhl’s play Eurydice, a contemporary take on the myth of Orpheus from the perspective of Eurydice, his wife. While the play starts in New York City of 1950s, the rest of the story takes place in the timeless underworld and focuses on Eurydice's choice to return to earth with Orpheus or to stay with her father and marry the Lord of the Underworld.

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Winter Music, for Seventeen Players (2005)
Premiered at the Kilbourn Hall of the Eastman School of Music by the Composers’ Sinfonietta.

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Each Tuesday, art song (2001)
A setting of Daniil Kharms' poem "Each Tuesday."

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Fame, art song (2011)
Fame is a setting of Emily Dickinson’s poem of the same name. It makes use of both vocal and piano extended techniques to convey a fickleness and illusiveness of fame.

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Four Drinking Songs, art songs (2011)
“Four Drinking Songs” is a cycle of four songs: 1. A Drinking Song (W.B. Yeats) 2. A Drunken Man's Praise of Sobriety (W.B. Yeats) 3. The Last Toast (A. Akhmatova) 4. One More Toast (A. Akhmatova)

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Kak u oblaka (As if on the rim of a cloud), female voice and piano (2011)
"Kak u oblaka," is a setting of Anna Akhmatova's poem ("As if on the rim of a cloud") in original language of the poem - Russian. The poem is about love, and the music reflects the dreamy atmosphere and unresolved feelings.

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Khaldeyev, Naldeyev..., song (2001)
A humorous setting of Daniil Kharms' poem "Khaldeyev, Naldeyev..."

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Lead Me Away, art song (2001)
A setting of Daniil Kharms' poem "Lead me away."

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Sea: The Soul of Spain, art song cycle (2007)
As the verse of the second poem from this cycle goes, "One would say that the earth is the way of the flesh, that the sea is the way of the soul." This poetic connection of a human soul to the sea inspired me to compose a song cycle for soprano and piano, based on three poems by three different Spanish poets, living in different epochs.

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The Spring, for Baritone and Piano (2002)
A setting of Arthur Rimbaud's poems and letters; commissioned and first performed by Richard Lea.

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The Walrus and The Carpenter, art song (2011)
The Walrus and The Carpenter Text by Lewis Carroll from Through the Looking-Glass and What Alice Found There, 1872 (edited by Vera Ivanova)

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UN~NOW, for Solo Voice (2000)
"Un~Now" for solo voice is a setting of an absurd poem by the Russian poet Daniil Kharms.

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Still Images of the Restless Mind, for Chamber Orchestra (2006)
Still Images of the Restless Mind is a reflection on an emotional state of mind when the most important personal images, preserved in the memory, come to the rescue of the disturbed mind. These images have settled in the mind from the early childhood on, and the mind does not recall them in its every day life, overwhelmed by the excessive information that it has to perceive every day.

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Variations on chords: Distances, for Symphony Orchestra (2003)
Variations on Chords: Distances was composed in 2003 and premiered by the Eastman Philharmonia, conducted by Clay Greenberg.

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Snow Song, men's choir a cappella (TTBB, sub. to TTTTBBBB) (2015)
Snow Song was written by request for Angel Vázquez-Ramos and CalState Fullerton's Men's Chorus in April 2015.

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Three Summer Songs, SSAA choir a cappella (divisi) (2011)
Three Summer Songs were composed during the summer months of 2011 for conductor Angel Vázquez-Ramos. Each song uses a text by a different author and depicts one of the summer months.

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Time Is, for SSA choir and piano (2016)
One of the most known Henry Jackson van Dyke’s poems, Time is, attracted my attention by its profound philosophical statements which are expressed with such candor and simplicity, that it made the poem truly universal and timeless. The piece exists in 2 versions: version 2 includes additional text and the optional use of hand bells.

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Electrostatic Whale (2016)
The piece is written for bass clarinet and is accompanied by a pre-recorded soundtrack; its main source comes from the sound sample of a whale song, manipulated and transformed through the use of various software to create an image of a creature, a digitized sea mammal, submerging into the deep ocean and emerging to a digitized surface.

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Little Red Riding Hood, Ballet for Children (1996)
Commissioned by the State Academic Opera and Ballet Theatre and the College of Choreography of N.Novgorod-city (Russia)

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The Philosophy of Walls, Contemporary Dance (2005)
Commissioned through the Moscow Culture Committee grant “Open Stage” by the Theatre of Nations (Moscow, Russia)

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Melancholy, acousmatic (2001)
Melancholy is a lyric composition based on the pre-recorded voice of Judith Caplan.

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Panic, acousmatic (2001)
Panic stands on the border between “serious” electro-acoustic music and its exaggeration. It reflects the way of living in today’s metropolis with its rush hours, lack of time and noise pollution, its everyday stress and loneliness. The result – panic. The initial material of Panic is the filtered beginning of my Night Music for large ensemble. The main sources of the piece are graphic patterns used as filters for the Metasynth software, transforming graphic images into sound objects and filters.

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Panic. Melancholy, acousmatic (2001-02)
Premiered in 2003 at the Theremin Center for electro-acoustic music and multi-media (Moscow, Russia).

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Soma, for fixed media (2001)
Premiered at the Moscow Culture Center “DOM,” Moscow International Festival of electro-acoustic music and multimedia “Altermedium 2.0: well-tempered noise” (Moscow, Russia)

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