WHAT THEY ARE SAYING...
Beer Music
Hold my beer, and hand me my bassoon!
Next, for the drunken part of the show! You know you’re in Wisconsin when classical composers write music inspired by their favorite brew. I’m sure every beer lover has asked themselves what their lager would sound like should it be interpreted by five woodwind instruments. No? Well, you should be! Black Marigold commissioned composer, Brian DuFord to do just that in his Beer Music. The five of them did a whirlwind seventy two hour tasting of Madtowns favorite ales, in turn giving the composer their impressions of each of the drinks. DuFord decided upon eighteen of the brews to compose short pieces reflecting its characteristics. Creatively, the program offers a Flight #1 and Flight #2 giving you just a sampling of eight of the eighteen compositions. Written in the program, are entertaining descriptions of each piece as if you were reading a menu at One Barrel or Ale Asylum. One of my favorites was Banjo Cat from One Barrel Brewing Company. The clever description reading, “A creepy clown at a circus where the tent catches on fire and chaos ensues. Or simply a bluegrass banjo tune.” This was a stellar piece to show off the group’s outstanding clarinetist, Bethany Schultz. The finale of the night was definitely a highlight rounding out the second “flight” of Beer Music. To quote the program, “a celebratory German drinking song, suggesting how a wind quintet might sound if they were imbibing during the gig instead of after.” The quintet slowly turns into a drunken stupor, playing as if inebriated ending passed out at their music stands. Brilliant!
- Dr. Melaine Cain: Classical Hive
Coal Trials on Rails
Composed by Brian DuFord in 2018, this innovative piece features a soundtrack incorporating traditional bluegrass and classical instruments with real sound effects of coal and freight trains. Field recordings of the trains were collected at the Norfolk Southern rail yard in Roanoke, Virginia and along the CSX line in Kingsport, Tennessee. After writing the oboe melody and orchestrating the backing track using steel string guitar, banjo, upright bass, and standard orchestral instruments, DuFord incorporated the train sounds to create a cohesive, one-movement work of several short scenes linked by the sound effects. Rail transport has inspired the creation of many musical compositions, ranging from folk songs to avant-garde works by Western classical composers. The unique instrumentation of this piece for live oboist with electronic accompaniment reflects the tradition of music inspired by the railroad. The unusual blend of acoustical oboe with recorded bluegrass instruments and sound effects gives this piece wide audience appeal and demonstrates the inventive means by which area musicians are collaborating to forge new connections between diverse musical traditions. An innovative and creative work, Coal Trails on Rails highlights the diversity of musical practices in Appalachia, its unique and varied soundscape, and the historical and cultural experiences of its people.
- Skropion Forum
Notion of Commotion
Brian DuFord set his daily commute on the New York City subway to music...a highly demanding world premiere...the three movements of Notion of Commotion captured the chugging locomotive-like sounds of the morning rush hour, the nocturnal silence of the night and the grooving, lighthearted intoxication of a Saturday evening.
- Klaus Kalchschmid: Musikerlebnis Süddeutsche Zeitung
Blue Hues for Two
DuFord's Blue Hues for Two is a moody bounty of blues and Appalachian-style musings.
- Julie Koidin: Flutist Quarterly
Variations on an Afro-Cuban Lullaby
...the quintet settled into Variations on an Afro-Cuban Lullaby. Written for Imani Winds by DuFord, its languid melody wanders through the personas of a hoedown and the dry ironies of a 1920s music-hall piece, then settles in the loosely groomed rhythmic clapping and rattle-shaking of an African dance.
- Joan Reinthaler: The Washington Post
Composer Brian DuFord was on hand to introduce his Variations on an Afro-Cuban Lullaby. He did so by playing the source material on guitar and reminiscing about his baby daughter’s fondness for the tune. The variations were more of a dream world than a lullaby, with irregular phrasings and winding dark alleyways.
- Joseph Dalton: Times Union Albany, NY
Composer Brian DuFord played the sweet Cuban lullaby Drume Negrita on his guitar, on which he based his Variations for the quintet. These moved from slow to fast to slow in various forms, some with funky rhythms that had clapping hands or a rattle added, or more speedy sections.
- Geraldine Freedman: Sunday Gazette Schenectady, NY
New York Streetscapes
...characteristically American (north and south) rhythms and melodies of Brian DuFord’s Gershwinesque New York Streetscapes, the latest in a line of lively urban evocations...the closer, a breezy, jazzy streetscape called Harlem (125th Street)...
- Brett Campbell: Oregon Arts Watch
Brian DuFord’s Harlem (125th Street) had a rhythmic undercurrent in the piano that was juxtaposed with constantly flowing passages...
- James Bash: The Oregon Music News
Baker's Magic by Diane Zahler
...mood-appropriate snippets of music begin and end each chapter, helping to sweep listeners along.
- winner of AudioFile Earphones Award
- AudioFile Magazine
Mrs. Mo’s Monster by Paul Beavis
The accompanying musical score delightfully punctuates the monster's every move.
- AudioFile Magazine
Wolfie the Bunny by Ame Dyckman
...melodramatic piano riffs add an ominous tone reminiscent of silent films. This delightful interplay between words and music continues throughout.
- winner of AudioFile Earphones Award
- AudioFile Magazine
Hold my beer, and hand me my bassoon!
Next, for the drunken part of the show! You know you’re in Wisconsin when classical composers write music inspired by their favorite brew. I’m sure every beer lover has asked themselves what their lager would sound like should it be interpreted by five woodwind instruments. No? Well, you should be! Black Marigold commissioned composer, Brian DuFord to do just that in his Beer Music. The five of them did a whirlwind seventy two hour tasting of Madtowns favorite ales, in turn giving the composer their impressions of each of the drinks. DuFord decided upon eighteen of the brews to compose short pieces reflecting its characteristics. Creatively, the program offers a Flight #1 and Flight #2 giving you just a sampling of eight of the eighteen compositions. Written in the program, are entertaining descriptions of each piece as if you were reading a menu at One Barrel or Ale Asylum. One of my favorites was Banjo Cat from One Barrel Brewing Company. The clever description reading, “A creepy clown at a circus where the tent catches on fire and chaos ensues. Or simply a bluegrass banjo tune.” This was a stellar piece to show off the group’s outstanding clarinetist, Bethany Schultz. The finale of the night was definitely a highlight rounding out the second “flight” of Beer Music. To quote the program, “a celebratory German drinking song, suggesting how a wind quintet might sound if they were imbibing during the gig instead of after.” The quintet slowly turns into a drunken stupor, playing as if inebriated ending passed out at their music stands. Brilliant!
- Dr. Melaine Cain: Classical Hive
Coal Trials on Rails
Composed by Brian DuFord in 2018, this innovative piece features a soundtrack incorporating traditional bluegrass and classical instruments with real sound effects of coal and freight trains. Field recordings of the trains were collected at the Norfolk Southern rail yard in Roanoke, Virginia and along the CSX line in Kingsport, Tennessee. After writing the oboe melody and orchestrating the backing track using steel string guitar, banjo, upright bass, and standard orchestral instruments, DuFord incorporated the train sounds to create a cohesive, one-movement work of several short scenes linked by the sound effects. Rail transport has inspired the creation of many musical compositions, ranging from folk songs to avant-garde works by Western classical composers. The unique instrumentation of this piece for live oboist with electronic accompaniment reflects the tradition of music inspired by the railroad. The unusual blend of acoustical oboe with recorded bluegrass instruments and sound effects gives this piece wide audience appeal and demonstrates the inventive means by which area musicians are collaborating to forge new connections between diverse musical traditions. An innovative and creative work, Coal Trails on Rails highlights the diversity of musical practices in Appalachia, its unique and varied soundscape, and the historical and cultural experiences of its people.
- Skropion Forum
Notion of Commotion
Brian DuFord set his daily commute on the New York City subway to music...a highly demanding world premiere...the three movements of Notion of Commotion captured the chugging locomotive-like sounds of the morning rush hour, the nocturnal silence of the night and the grooving, lighthearted intoxication of a Saturday evening.
- Klaus Kalchschmid: Musikerlebnis Süddeutsche Zeitung
Blue Hues for Two
DuFord's Blue Hues for Two is a moody bounty of blues and Appalachian-style musings.
- Julie Koidin: Flutist Quarterly
Variations on an Afro-Cuban Lullaby
...the quintet settled into Variations on an Afro-Cuban Lullaby. Written for Imani Winds by DuFord, its languid melody wanders through the personas of a hoedown and the dry ironies of a 1920s music-hall piece, then settles in the loosely groomed rhythmic clapping and rattle-shaking of an African dance.
- Joan Reinthaler: The Washington Post
Composer Brian DuFord was on hand to introduce his Variations on an Afro-Cuban Lullaby. He did so by playing the source material on guitar and reminiscing about his baby daughter’s fondness for the tune. The variations were more of a dream world than a lullaby, with irregular phrasings and winding dark alleyways.
- Joseph Dalton: Times Union Albany, NY
Composer Brian DuFord played the sweet Cuban lullaby Drume Negrita on his guitar, on which he based his Variations for the quintet. These moved from slow to fast to slow in various forms, some with funky rhythms that had clapping hands or a rattle added, or more speedy sections.
- Geraldine Freedman: Sunday Gazette Schenectady, NY
New York Streetscapes
...characteristically American (north and south) rhythms and melodies of Brian DuFord’s Gershwinesque New York Streetscapes, the latest in a line of lively urban evocations...the closer, a breezy, jazzy streetscape called Harlem (125th Street)...
- Brett Campbell: Oregon Arts Watch
Brian DuFord’s Harlem (125th Street) had a rhythmic undercurrent in the piano that was juxtaposed with constantly flowing passages...
- James Bash: The Oregon Music News
Baker's Magic by Diane Zahler
...mood-appropriate snippets of music begin and end each chapter, helping to sweep listeners along.
- winner of AudioFile Earphones Award
- AudioFile Magazine
Mrs. Mo’s Monster by Paul Beavis
The accompanying musical score delightfully punctuates the monster's every move.
- AudioFile Magazine
Wolfie the Bunny by Ame Dyckman
...melodramatic piano riffs add an ominous tone reminiscent of silent films. This delightful interplay between words and music continues throughout.
- winner of AudioFile Earphones Award
- AudioFile Magazine