Erich Stem’s music has been described as “sophisticated and intriguing” (The Washington Post), “unique and beautiful” (Boston Theatre Review), and as having a “fluent and chaotic exchange that breaks minimalism apart” (A Closer Listen). It pulls from a variety of sources, including American jazz, Japanese shakuhachi music, and Stem’s interest in improvisation. His music has been performed live around the globe in places such as New York City, Boston, San Antonio, Los Angeles, Miami, England, the Netherlands, and Romania, and can be heard on albums by critically acclaimed groups such as counter)induction, Aurelia Saxophone Quartet, SOLI Chamber Ensemble, and the Cadillac Moon Ensemble. His commissions include music for recognized artists such as saxophonist Johan van der Linden and flutist Lindsey Goodman.

Groups such as the Minnesota Orchestra, Richmond Symphony, West Virginia Symphony Orchestra, and many others have performed and broadcasted his orchestral works in venues such as Minnesota’s Orchestra Hall, The Carpenter Theatre at CenterStage, WUOL 90.5FM’s Brave New World, and WCVE 88.9FM’s Whitlow Concert Series with Bobbie Barajas. More recently, his affinity for the history and towns of the United States led to a larger orchestral project called America By: A Symphonic Tour. A consortium of American orchestras has commissioned works from Stem during the tour, with each piece representing the unique attributes and history of the residing orchestra’s hometown. The pilot took place on Bainbridge Island WA featuring premiere performances of “Bainbridge” by the Bainbridge Symphony Orchestra, followed by the West Virginia Symphony Orchestra’s premiere of “Kentucky By” later that year. More recent performances include a commission by the University of Portland Orchestra for the 2017-18 season and a commission by the Arlington Philharmonic Orchestra for the 2018-19 season.

Stem has also made the promotion of today’s art music an important part of his career. In 2005, he founded New Dynamic Records, with a mission of discovering and recording works by living composers. By 2016, the label had released music by 60 living composers worldwide, including 42 world premiere recordings. It was featured in publications such as Time Out New York, Fanfare Magazine, and notable online magazines such as I Care if You Listen, Sequenza 21, and Music and Vision (UK). Stem is also the composer-in-residence of A/Tonal, an ensemble dedicated to the music of living composers and their connections to the past.

photo: Mickie Winters

www.americaby.com

Brian T. Field

Brian Field’s music is an eclectic fusion of lyricism and driving rhythm that brings together elements of post-romanticism, minimalism, and jazz.  He has received a host of awards, including the RMN Classical recording prize; the Benenti Foundation recording prize; the Alvarez Chamber Orchestra Mullord Award; First Prize, Briar Cliff Choral Music Competition; and First Prize, Victor Herbert ASCAP Young Composers’ Contest.

Field began his musical endeavors at age 8 with the study of piano and began his first serious compositional efforts at 16, earning his undergraduate degree in music and English literature from Connecticut College where he graduated Magna Cum Laude, Phi Beta Kappa. At Connecticut, he studied composition with Noel Zahler, piano with the Polish pedagogue Zosia Jazinovich, organ with John Anthony, and harpsichord/figured-bass realization with Linda Skernick.

Devoting himself to composition, Field continued his musical studies at the Juilliard School in New York City where he was awarded his Master of Music degree. At Juilliard he was a student of Milton Babbitt. From Juilliard, Field attended Columbia University, earning his Doctorate.  At Columbia, he was a President’s Fellow and studied composition with George Edwards and Mario Davidovsky.

Field’s musical works include music for television and stage ranging from solo acoustic, chamber, ballet, and choral to electroacoustic and orchestral works.  His compositions have been performed throughout the United States and internationally.

Visit brianfield.com for complete list of works, performances, and updates.

photo: Louis Kavouras

Mark Francis

Mark Francis’ musical career has varied from teaching, composing, performing, and journalism to orchestral administration. He has studied composition with Walter Hartley and James Eversole and guitar with Joanne Castellani, Clare Callahan, and Joseph Fratianni. He holds a D.M.A. in composition from the University of Kentucky and also holds degrees from the University of Connecticut and SUNY Fredonia. He has taught at Texas A & M Corpus Christi, University of Kentucky, Mississippi State University, Louisiana School for Math, Science and the Arts, Centenary College, Northwestern State University, Emory University, Agnes Scott College, Midwestern State University, and Power Academic and Performing Arts Complex.

Francis has received 10 ASCAP Standard Awards and 10 ASCAP Plus Awards for his compositions. His works have been performed internationally and have been part of the Corcoran Gallery Contemporary Music Series in Washington, D.C. The Jackson State University Orchestra premiered his composition on the words of Martin Luther King, Jr., The Trumpet of Conscience, at the Library of Congress. Conners Publications, NewMusicShelf.com, SheetMusicPlus.com and Imagine Music publish his compositions.

Francis performs on guitar and mandolin, most recently as part of the Atlanta Mandolin Orchestra. He has contributed to the contemporary music journal 21st Century Music, reviewing concerts and recordings. He was a past President of the Southeastern Composers League and Board Member for composition for the College Music Society, South Chapter. He has served as Executive Director of the Wichita Falls Symphony Orchestra, the Sioux City Symphony, and The McLean Orchestra, Director of Education and Librarian for the Mississippi Symphony Orchestra, and Director of Education and Community Outreach for The Florida Orchestra. Presently, he is Executive Director of the Corpus Christi Symphony Orchestra.

photo: Raymond Gray

Jan Järvlepp

Jan Järvlepp returned to his native Ottawa in 1981 after completing his doctoral studies in composition and 20th-century music at the University of California, San Diego. His composition teachers over the years were Luis de Pablo, Alcides Lanza, Will Ogdon, and Roger Reynolds. Once back, he joined the Ottawa Symphony Orchestra and has been active as a freelance cellist, composer, teacher, recording technician, and as a contractor for chamber music groups.

Freed from the restrictions of the university environment, he began composing in a newer style of postmodern music that would not have been acceptable among academics. He has been delving deeper and deeper into the world of pop-influenced contemporary “classical” composition. He has completely turned his back on the avant garde modernism that he was rigorously trained in, in order to concentrate on the emerging neo-tonal style. In 1996, the Ottawa Symphony Orchestra premiered his percussion ensemble concerto, The Garbage Concerto, to a wildly receptive audience, and that success has now been repeated in many cities around the world. His chamber music has been featured in the Ottawa Chamber Music Festival and in the Music and Beyond Festival and has been broadcast internationally. Järvlepp’s music has been heard on previous Navona albums including TOMORROW’S AIR (2017), LEGENDS AND LIGHT (2018), and PRISMA 2 (2019). Many of his compositions are available from the American publisher J. W. Pepper, either as digital downloads or in paper form, and from the Canadian Music Centre.

photo: Claudette Bockstael

www.janjarvlepp.com