2022 Commission Consortium for bassoon and percussion
Join DuoXylo in an exciting new consortium to commission three new works for bassoon and percussion. Each member will have their name printed in each score as a co-commissioner and will have unrestricted performance rights for all of 2023. Music will be available for rehearsal in November of 2022 with the world premier to be given at the Festival of New American Music on November 8.
$210 consortium fee
Exclusive performance rights for two works for the 2023 calendar year (rights for Brittany Green's piece will be at least one year from the date of completion)
Consortium is open to a maximum of 35 members
Printed recognition in each score as a co-commissioner
Three works totaling a minimum of 32 minutes of music
approximate duration of individual works are 4, 8, and 20 minutes
Instrumentation is for a single bassoonist and a single percussionist
details on percussion instruments called for will be announced here as they become available
Scores available for rehearsal beginning in November 2022
The excitement of helping bring new music to life
If one wishes to contribute to this project without joining the consortium or over and above the consortium fee, the "Support the Project" button allows for a donation of any amount. 100% of funds will go directly to the composers.
Cuban composer, pianist, and educator and Director of children's and youth orchestras, Ailem Carvajal has been living in Italy since 1997.
She has received commissions from institutions such as: Scala Theatre in Milan; Centre of Contemporary Art "Reina Sofía" in Madrid; New Music Miami Festival; Williams Ensemble (U.S.A); Ensemble Insomnio of Amsterdam (Netherlands) and soloists of the Lausanne Chamber Orchestra (Switzerland). She has won the prestigious CINTAS Fellowship Award in the USA and released her album ISLA, produced by Rey Rodriguez Productions (Germany) and was the winner at the international fair CUBADISCO 2013 in the category classical music. She has won numerous prizes for composition such as, 1st Prize in the “International Competition for Women Composers,” Venice, Italy (2004); National Prize for Composition from the National Union of Writers and Artists of Cuba - UNEAC (1993); Prize for Artistic Creation from the Higher Institute of Art of La Habana, Cuba (1993). She has composed pieces for different formats which have been recorded by Periferia Music (Barcelona); UMMP (Belgium), Tutto Music (Berlin); Pizzicato Verlag Helvetia (Switzerland); Sello Autor (Madrid), Rey Rodriguez Productions (Hamburg) and RYCY Productions (Los Angeles).
Ailem is founder and conductor in Parma, Italy of the Children's Orchestra Orff of the Mus-e European Project. She is a member of the National Union of Writers and Artists of Cuba (UNEAC).
KaiKro is a work for bassoon, percussion and three metronomes that plays with the concepts of time and tempo. The Greeks had two words to define time: Kairos, that refers to the ideal or opportune time, and Kronos, which represents the chronological time. KaiKro is a single movement work, with a duration of approximately 5 minutes. The bassoon, as a solo instrument, dialogues with the rhythmic and timbrel atmospheres of the percussion. The piece is based on an ostinato of three metronomes in different agogics that from the beginning to the end of the movement will mark a persistent interplay of time and counter time.
Instrumentation: bassoon, 5 temple blocks, 5 cowbells, 3 cymbals, bongos, bodhran, 3 analog metronomes
Franklin Piland (b. 1990) is a Native American musician. He earned his Master of Music in Music Composition, with focus in wind band conducting and music production, from the University of Texas at Austin and his Bachelor of Music in Wind Performance with minors in Music Technology and Music Composition from Eastern New Mexico University.
As a composer and arranger Franklin has been fortunate to have his works premiered and recorded by a variety of musicians, from young bands to collegiate and professional ensembles, and has collaborated on his music with some of the world’s most lauded human-beings. Arrangements of Franklin’s are widely-requested and numerous, and range from solos to symphonies. His choral and band works have drawn attention from legendary composers of our time, Eric Whitacre, Donald Grantham, Mark Camphouse, and David Holsinger being some of the most prominent. His band work Somnia Mortem was named a finalist in the ATSSB Composition Competition and has been championed beautifully by David Holsinger since 2013. He has been commissioned numerous works since 2011 for a wide variety of ensembles, most notably: Rose Made Man, a One-Act Opera coming of age story of a transgender man named Gabriel; DDAT Suite, for rapper, jazz trio, and wind band, which fuses Native American and jazz musics; and four works for the Pakistani/American fusion group Sangat! (Moon of the 15th, Sangat, Morning, and Sun of the 10th) which completed their tour across the world in 2018.
His most recent projects include: Maǧážu, for soprano and string quintet, commissioned by Lauren Cook; a new work for marching band titled Native Americana; and an exciting collaboration with the Native American/Jazz fusion group DDAT, recently featured on NPR’s Tiny Desk Concert series, and the Sonoma State University Orchestra.
Despite all of his numerous obligations and responsibilities, Franklin is a lover of tennis, painting, and Batman (though oddly enough he has yet to paint Batman playing tennis). Franklin currently resides in Floydada, TX with his husband Alex and his two dogs Nakia and King.
Desiderium is a piece in three movements for bassoon and percussion with each movement drawing on a different culture for inspiration. The first movement is inspired by my own Native American heritage and is influenced by the persistent drumming and wail-singing heard in many Native American traditions. The second movement is based on the oldest surviving complete musical composition, the Seikilos epitaph of Ancient Greece. The third Movement is inspired by my collaborative work in Pakistan.
The word desiderium means “an ardent desire or longing,” especially in reference to things lost or gone. This really was at the heart of each section of the piece.
The first movement uses Native American influences, including repetitive drumming, wide vibrato that mimics the call and response nature of drum circles, and frequent grace notes in the lyrical figures that suggest the embellished lines sung in powwow vocals. I myself was not raised inside of my culture, and feel in many ways I have lost a direct connection to that part of my identity. I have spent most of my adult life learning what I can on my own about my heritage, and trying through my music to show respect and honor for its part in my life.
The second movement uses one of the most ancient recorded melodies in existence, the Epitaph of Seikilos, to represent the Greek heritage of DuXylo’s Dorian Antipa. This melody has stuck with me for many years, and occurs to me as a prime example of desiderium. The longing to know what the music of our ancestors, from a time as long ago as the first or second century CE, is palpable. This work gave me an opportunity to play with developing this gorgeous melody in both a lyrical and virtuostic fashion.
The final movement is perhaps the most representative of desiderium. I absolutely loved, in the truest sense of the word, my time in Pakistan. The weather, food, music, culture, clothing, and most of all people are some of my fondest memories. This melody was taken from my collaborations with the music educators of the National Academy of Performing Arts in Karachi, and pays a nostaligc homage to my time with those great humans and artists through a melodic and rhythmic movement reresentative of the folk musics of Pakistan, filled with modal melodies, liberated rhythmic combinations, call and response between the bassoon and percussion, and some quasi tabla improvisatory percussion accompaniment.
Instrumentation: bassoon, 1 large drum (bass or otherwise), 2 toms, bongos, 3 triangles, wind chimes, 4 cymbals, 5 octave marimba
Brittany J. Green (b. 1991) is a North Carolina-based composer, creative, and educator. Described as “cinematic in the best sense” and “searing” (Chicago Classical Review), Brittany’s music works to facilitate collaborative, intimate musical spaces that ignite visceral responses. The intersections between sound, video, movement, and text serves as the focal point of these musical spaces, often questioning and redefining the relationships between these three elements. Recent works engage sonification and black feminist theory as tools for sonic world-building, exploring the construction, displacement, and rupture of systems.
Her music has been featured at concerts and festivals throughout North America, including the Boulanger Initiative’s WoCo Fest, the Society of Composers National Conference, NYC Electronic Music Festival, SPLICE Institute, and Experimental Sound Studio. She has presented research at the North Carolina Music Educators Association Conference, East Carolina University’s Research and Creative Arts Week, and the Darkwater Women in Music Festival. Her music has been commissioned and performed by the International Contemporary Ensemble, JACK Quartet, Emory University Symphony Orchestra, and Transient Canvas.
Brittany’s music has been awarded the American Academy of Arts and Letters’ Charles Ives Scholarship, ASCAP Foundation’s Morton Gould Award, and New Music USA’s Creator Development Grant. She holds a BM and MM in Music Education and Music Composition and Theory. She is currently in residence at Duke University, pursuing a Ph.D in Music Composition as a Dean's Graduate Fellow.
DuoXylo is a new ensemble making its debut at the 2022 Festival of New American Music. Percussionist, Mckenzie Langefeld and bassoonist, Dorian Antipa have teamed up to seek and perform new and exciting works from a diverse community of composers who recognize the sonic potential of bassoon and percussion. Inspired by the small but powerful catalog already written for bassoon and percussion, DuoXylo is thrilled to continue to add to the repertoire and share this unique music for an unconventional duo.
Mckenzie Langefeld (Camp) is a percussionist in the Bay Area where she plays with many different ensembles and orchestras. She is a member of Ninth Planet, a new music ensemble and service organization dedicated to the commissioning, performance and furthering of new music, especially the works of young composers and artists from underrepresented communities. Mckenzie is a regular percussion extra with the San Francisco Opera. She graduated from the Eastman School of Music and San Francisco Conservatory of Music. She teaches a studio of over 20 young musicians how to play piano, drums, and percussion, and has learned a lot about teaching over zoom this year. When she’s not making or teaching music, you can find her outdoors, scuba diving, hiking, and learning to speak German with her adventurous better half.
Dorian Antipa is the principal bassoonist with the Great Falls Symphony and a member of the orchestra's resident quintet, the Chinook Winds. Dorian has performed extensively with orchestras in California, Connecticut, Illinois, and Montana. He can be heard on multiple wind ensemble recordings released by Naxos as well as on the Chinook Winds’ recently recorded debut CD released by Centaur. Dorian has previously held teaching positions at Montana State University in Bozeman, the University of Montana, University of the Pacific Conservatory of Music, The Hartt School Community Division, Metropolis School of the Performing Arts, and Great Falls College-MSU. He continues to maintain a private bassoon studio and splits his remaining free time honing his band instrument repair skills and exploring the Montana wilderness with his wife, Emily, and dog, Dennis.
Join the consortium
Consortium members receive:
Scores of the 3 new pieces
Their name printed in each score as a co-commissioner
Unrestricted performance rights for all of 2023
Scores available for rehearsal in November of 2022
(Brittany Green's score will be available at a later date with performance rights extending for a year following completion)