2024 Salon Concert – About the Composers and Program Notes

Published by Eric Brook on

Presents: 2024 Composer’s Salon Concert

Sunday, March 24th, 2024 – Timucua White House
2000 South Summerlin, Orlando, FL 32806.
Doors: 7 pm. Concert: 7:30.

Info for Tickets

Concert Program

1. As the Sun Sets Upon This Autumn NightJeremy Umlauf

Jeremy Umlauf – Piano

2. The Time QuartetPaul Austin Sanders

2nd Movement – The Threads of Time; 3rd Movement – The Dances of Time

Irene Pacheco – Violin 1   Anabel Tejeda- Violin 2

Tyler Pacheco – Viola     Annalise Lange – Cello

3. Barcarolle Dan Crozier

Xiting Yang – Piano

4. Alice + Zoltan 4everAlex Burtzos

George Weremchuk – Alto Saxaphone 

Luis Fred – Bass Trombone

Ammon Perry Bratt – Piano

5. Suite for Flute & String QuartetStan Cording

Foretold, Quest, Processional

Emma Koi – Flute

Lisa Ferrigno – Violin 1   Joni Hanze – Violin 2

Scott Knopf – Viola     Adriana Stenvik – Cello

About the Composers and Program Notes (In Alphabetical Order)

Alex Burtzos is an American composer and conductor based in New York City and Orlando, FL. His music has been performed across four continents by some of the world’s foremost contemporary musicians and ensembles, including JACK Quartet, Yarn/Wire, loadbang, Contemporaneous, ETHEL, Jenny Lin, RighteousGIRLS, Decoda, and many others. Alex is the founder and artistic director of ICEBERG New Music, a New York-based composers’ collective.

Alex holds a DMA from Manhattan School of Music, where his primary teachers were Reiko Fueting and Mark Stambaugh. He is the Endowed Chair of Composition Studies at the University of Central Florida, where he teaches composition, orchestration, film scoring, video game scoring, and music technology. His music is published by Just a Theory Press, NewMusicShelf, and others.

Alice + Zoltan 4ever is based on a 2008 article in Gizmodo magazine. The article related the story of an inventor who, frustrated with his search for love, had decided to build himself a robotic companion. The author concluded on a frankly sympathetic note: “My conversation with Zoltan lasted a couple of hours – not enough time for me to be able to claim that I ‘got’ him. What I did find, however, is that he is not a freak. Strange, maybe, but sympathetic, mature… In short, a likable guy who can’t make it work with women – and so he has found an alternative.” 

This composition strives to capture something of this lovelorn inventor’s personality, and imagines him – maybe – finding happiness at last.

Commissioned by Ana García and premiered by Ana García, Jason White, and Tim Thompson in Bossi-Comelli Studio, New York, NY (October 2014).

Stan Cording is an Orlando native and graduate of Rollins College. He writes in a style called New Lyricism, emphasizing the beauty and mood of the music over the materials or methods used to make it. His music is a respectful continuation of classical music tradition without being overly reverent to a particular style or fad. His music has a strong appeal to both audiences and performers alike. Drawing inspiration from the unique interests and requirements of the musicians, patrons and collaborators he works with, his music is performed in venues from the church to the concert hall, and within a wide range of genres and forms, from art song to choral, chamber, orchestral and Christmas music.
His album, Christmas Carols Old and New, is available on Amazon. Scores and recordings are available on his website:

Suite for Flute and String Quartet is in three movements. The titles and text that inspired each movement:
“Dream lofty dreams, and as you dream, so shall you become” – James Lane Allen
“Silver hidden in the gold.
Young man hidden in the old.
Laughing lord with weeping eyes.
Bring kind and ring before sunrise!”

– Margaret Lovett
“Processional “
“… the shout of a king is among them.” – Numbers 23:21

Described as “harmonically lush and lyrically soaring” by the New York Times, and as having “abstract elegance, structural coherence, and tender feeling” by the Wall Street Journal, music by Daniel Crozier has been performed or recorded by organizations as diverse as Fort Worth Opera, the Boston Symphony Chamber Players, the Seattle Symphony, and New York City Opera.  His operatic, orchestral, and solo works have been released on the Albany, ACA Digital, and Parma labels. Awards include a fellowship from the Florida Division of Cultural Affairs, an ASCAP Foundation Morton Gould Young Composers Grant, five nominations for awards from the American Academy of Arts and Letters, and first prizes in National Opera Association and Jacksonville Symphony competitions.  He currently serves as Professor of Theory and Composition at Rollins College.

Program Notes: Barcarolle, for solo piano

Written during a summer at the Oregon Bach Festival, this fourth barcarolle in a series of five is the most introspective of the set.  Conceived during a festival of J. S. Bach’s works, the point of departure is a melody that opens with the intervals found in the musical spelling of the great patriarch’s name.  What follows is a piece about the spinning of long lyrical lines, and lines against and within them.  The traditional, rocking six, nine, or twelve-eight metric scheme of the barcarolle, or boat-song, is here shifted to groups of seven in the piece’s principal idea.  There is a lengthy tradition using the musical translation of the name “Bach” as thematic material, including the very last music written by the master himself.

Paul Austin Sanders has been a member of Central Florida Composers Forum since 2018 ..From Ethereal soundscapes to Neo Classical compositions..this concert will feature his 9th new work..His Creative Background has run the gamut from Studying not only Vocal performance and composition but jazz bass and actors studio as well as a variety of art classes at times……With one grandmother a pianist and the other an artist….the seeds were planted and over time the moniker of RenaissanceArtzMan evolved…
As This concert is connected to word play..I thought to explore some that fit with The Word Play of Time that this string quartet deals with

Abrakadabra..From The Hebrew for making something manifest…to speak it into existence… Tick Tock ..Time moves forward…subdivided into multiple increments of micro seconds, seconds, minutes, hours, days, weeks, months, years and beyond to Centuries to Millenia to Infinity..Time is a Word….Words in Time to the rhythms of Music that flow forth from our minds from the Universal Creative flow that keeps us on the go ..in Time ..each day ..each way we create, Inspired by the way the moment is unfolding in our minds…Tick tock ..This Moment in time is unfolding, Made Manifest by truly being in this moment..Abrakadabra.

Two movements from “The Time Quartet” adapted for the String Quartet will be performed.

2nd Movement – “The Threads of Time”

3rd Movement – “The Dances of Time”

paulaustinsandersstrangerthanfiction.bandcamp.compatreon.com search renaissanceartzman

Jeremy Umlauf is a rising composer from the Orlando, Florida area. His music mostly utilizes a traditional tonal harmonic language that is often mixed with subtle polytonality. His music is also often narratively driven and is occasionally inspired by music outside the Classical tradition. A few of his musical heroes include Leoš Janácek, Gustav Mahler, Alfred Schnittke, Koji Kondo, Jeff Lynne of the Electric Light Orchestra, and Thomas Kalnoky of Streetlight Manifesto.
In his free time Jeremy can be found fishing Florida’s rich fisheries, where he has caught snook, tarpon, spotted seatrout, redfish, largemouth bass, and chain pickerel. His love of fishing helps fuel his inspiration and passion for composition.

Growing up in Florida, I have always had a deep appreciation for breathtaking sunsets. To me, the sunset represents a time of both profound beauty and deep melancholy as the day ends and the night begins. It is this feeling that I aimed to capture in music.As The Sun Sets Upon This Autumn Night begins with a sparse texture that is meant to represent small patches of color slowly creeping into the sky. As the introduction progresses, the musical activity increases, acting as a parallel to even more new shades of color appearing at the beginning of the sunset. The activity culminates into a flurry of motoric motion which represents most of the duration of the sunset. After a cascading descent, the piece starts to wind down as the sky grows darker. Before long, the piece suddenly ends and all that is left is the silence of the night.

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