March 1, 2021 @ 7:30 pm – 8:00 pm PST
Fear No Music premieres their third virtual Mini Concert of the Tomorrow Is My Turn season, featuring flutist Amelia Lukas in dazzling solo performances of music by Black American composers. Known for her especially pure tone and passionate performances, Lukas offers “a fine balance of virtuosity and poetry.” (The New York Times) Recently appointed as a Powell Flutes Artist, Lukas “excels at bringing drama and fire to hyper-modernist works with challenging extended techniques.” (Oregon ArtsWatch) This uniquely varied and flashy mini program beautifully showcases her wide range of skill and color.
With the Tomorrow Is My Turn season, Fear No Music offers a small glimpse into the breadth and depth of phenomenal music being created by Black artists across the nation. Thoughtfully curated for an optimal online listening experience, this Mini Concert is thirty minutes in length, and is FREE with RSVP; available for streaming on Fear No Music’s YouTube channel.
Valerie Coleman, Danza de la Mariposa (2008)
This rhythmic, melodic tone poem gives the listener a tour of South America. Inspired by the various species of butterflies inhabiting the continent, Danza de la Mariposa is full of rich color, with butterflies dancing and weaving in syncopated rhythms while alternating between the feel of 3 over 4 throughout.
Carlos Simon, Move It (2020) for alto flute
From the Composer’s Note: The pandemic of COVID-19 has continued to influence my social, professional and personal life in ways that I never imagined…. This piece is meant to represent my desire to get out MOVE. My intent is to make this piece an imaginary syncopated joy ride. I wanted to explore the percussive and rhythmic nature of flute; something that moves with energy and forward motion.
Allison Loggins-Hull, Homeland (2018)
From the Composer’s Note: With so many people throughout the world dealing with tragic domestic issues, I began to think about the meaning of home during a crisis. What does home mean when the land has been destroyed? What does it mean when there’s been a political disaster, or a human disaster? How does a person feel patriotic when they feel unwelcomed at the same time? Homeland is a musical interpretation and exploration of those questions.
Joshua Mallard, Perennial (2019)
From the Composer’s Note: Perennial is a work that seeks to repurpose cyclical material by obfuscating and stretching the proportional relationship between each melodic phrase. In some ways, it is also a commentary on my experiences while learning flute. The familiar underpinnings of many older solo flute works has been slightly altered by the use of microtones.