Arizona Friends of Chamber Music
Commissioning program

The links on the left will take you to an individual composer's AFCM page, where you can listen to our complete premiere performances, review program notes, and find out how our commissions have fared, and learn more about the composers. Unless otherwise noted, audio is from the premiere.

Commissioning program home

Commissioning program description

Daniel Asia
Lera Auerbach
Sylvie Bodorova
Curt Cacioppo
Dan Coleman
Jeffery Cotton
Richard Danielpour
Ross Edwards
Tania Gabrielle French
Jiri Gemrot
Stephen Gryc
Jennifer Higdon
Lee Hoiby
Katherine Hoover
Anthony Iannaccone
Kamran Ince
Joseph Lin
Robert Maggio
Dominik Maican
Kelly-Marie Murphy
Olli Mustonen
Stephen Paulus
Raimundo Penaforte
Elizabeth Raum
Augusta Read-Thomas
Fazil Say
Gerard Schurman
Thomas Schuttenhelm
R. Murray Schafer
Ezra Sims
Stephen Stucky
Joan Tower
Dmitri Tymoczko
Reza Vali
Roel van Oosten
Joelle Wallach
Patrick Zimmerli
Ellen Taafe Zwilich

Matthew Snyder,
recording engineer
Video Documentary
of 3 premieres

If needed, download
Adobe Flash player
here

ROSS EDWARDS

"Tucson Mantras" for Percussion Quartet, String Quartet, Didgeridoo

Available on our Festival CD collection

Premiered by the Synergy Percussion Quartet, Lara St. John, Ian Swensen, Paul Coletti, Antonio Lysy, William Barton. March 2008.

Commissioned by: AFCM.

Sponsored by: Karen Sternal, Richard and Judy Sanderson, Jean-Paul Bierny and Chris Tanz.

The composer's website: http://www.rossedwards.com/

Ross Edwards on Wikipedia: http://en.wikipedia.org/wiki/Ross_Edwards_(composer)

Performances: Sydney Recital Hall, by the Synergy Percussion Quartet, William Barton, the Grainger String Quartet.

Published: Ricordi (London)

Ross Edwards writes:

"In 2006, Peter Rejto took part in a large-scale performance of 'Tyalgum Mantras' at the Four Winds Festival on the east coast of Australia, which also involved William Barton and the Synergy Percussion. When inviting me to compose another mantra piece to close the 2008 Tucson Winter Chamber Music Festival, Peter specified the need for a celebratory conclusion. Accordingly, the long, ruminative, often intense string passages that follow the opening mantras have the effect of accumulating energy which joyfully explodes in the work's expansive conclusion.

The texture of 'Tucson Mantras' abounds with nature symbolism - shapes and patterns abstracted from birdsong and the mysterious sound world of insects and frogs. Drones remember the earth and there is music reference, by way of personal symbols, to an Earth Mother archetype that pervades all my work."

 

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