tag:blogger.com,1999:blog-10199091493003556952024-03-24T18:31:55.076-05:00Kim Diehnelt Composer. Conductor.
Unknownnoreply@blogger.comBlogger22125tag:blogger.com,1999:blog-1019909149300355695.post-8814820594973352662023-11-10T10:53:00.000-06:002023-11-10T10:53:04.369-06:00Bell Carol FantasyJanáčkova Filharmonie Ostrava | Stanislav Vavřínek, conductorListenYouTubeApple MusicSpotifyAmazon Music When an orchestra player expressed interest in playing Carol of the Bells as part of a fun December rehearsal, I checked out what arrangements already existed. To me, they all seemed too simple and repetitive, so I set about writing my own. I discovered that the familiar carol has its Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1019909149300355695.post-17721461073290734252023-03-29T11:45:00.005-05:002023-03-29T18:15:38.082-05:00Choral Music Recordings Many of my choral works have been recorded by the "First Readings" ensemble in Minnesota.Please enjoy listening to their superb singing. I Had No Time A 6-part a cappella setting of the poem "I Had No Time To Hate" by Emily Dickinson (1830 -1886) The Blue Bird (L’Oiseau Bleu) for SATTBB Choir Text by Mary Elizabeth Coleridge (Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1019909149300355695.post-83613216036544538952023-03-29T11:17:00.010-05:002024-01-11T15:09:57.086-06:00 "You are Flowers" for Oboe and Cello Deb Stevenson, Oboe. Matt Agnew, Cello. "You are Flowers" for Oboe and Cello. 2021 ListenYouTube Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1019909149300355695.post-44998286964724857142023-03-29T11:13:00.007-05:002024-01-11T15:09:33.401-06:00"Milvanne" for Oboe, Horn, Violin, Viola, Cello Performed by Rendezvous
Arts, 2021 "Milvanne" for Oboe, Horn, Violin, Viola, Cello. “Across
a flowing expanse, Milvanne soars with powerful grace, elated spirit,
and buoyant playfulness. A kite unbound. Majestic. Lyrical.” ListenYouTube Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1019909149300355695.post-88563151950442738592023-03-29T10:39:00.012-05:002023-12-06T15:10:59.303-06:00Yarmouth Time - For Violin And CelloIn the Spring of 2018, I spent three months on Cousins Island off the coast of Yarmouth ME as the KISMET Foundation Artist-in-Residence. Yarmouth Time reflects my impressions during this period of being surrounded by intense weather, nature, and beauty.After an introductory “sunrise,” I capture my experience of two nor’easters with stormy gusts of wind and snow, leaping waves, swaying trees, and Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1019909149300355695.post-70202468709405673372023-03-29T10:12:00.042-05:002023-03-29T11:25:24.771-05:00Striadica: A Symphonic Passage “The every-day, reshaped by contingencies. The time-bound path twists
through certainty, bewilderment, and fragile reconstruction. Upon
release, recognition arrives.” Striadica: A Symphonic Passage Legends & Light, Vol. 2: New Works for Orchestra Filharmonie Brno, Pavel Šnajdr Listen YouTubeSpotifyApple MusicAmazon Music Album NotesNavona recordsUnknownnoreply@blogger.comtag:blogger.com,1999:blog-1019909149300355695.post-83759268052073447992022-11-12T14:12:00.014-06:002023-03-29T09:59:15.969-05:00I Had No TimeFor unaccompanied SATBBB ChoirA 6-part a cappella setting of the poem "I Had No Time To Hate" by Emily Dickinson (1830 -1886) SATBBB or Men's voices (2CnT, T, 2 Bar, Bass.) Dur. 4 - 6 minutes. 2020 (ASCAP)First Readings Project · Kim Diehnelt – I Had No Time I Had No Time to HateEmily Dickinson (1830 -1886) I had no time to Hate –BecauseThe Grave would hinder me –And life Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1019909149300355695.post-33523826102682790842019-06-25T13:48:00.001-05:002019-06-25T13:48:22.199-05:00The Blue Bird (L’Oiseau Bleu) for SATTBB Choir
Composer Kim Diehnelt
(ASCAP) 2018
The Blue Bird (L’Oiseau Bleu)
Text by Mary Elizabeth Coleridge (1861 - 1907)
The lake lay blue below the hill.
O'er it, as I looked, there flew
Across the waters, cold and still,
A bird whose wings were palest blue.
The sky above was blue at last,
The sky beneath me blue in blue.
A moment, ere the bird had passed,
It caught his Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1019909149300355695.post-90387646656256718652018-11-19T19:50:00.001-06:002018-11-27T10:34:55.927-06:00Devouring Time for SATB choir
In a contemporary setting of Shakespeare’s sonnet infused with early music traditions of polyphony, modal tendencies, and tone-painting, the ageless poet celebrates the artist’s triumph over time. Composer Kim Diehnelt, 2015
Sonnet 19: Devouring Time, blunt thou the lion's paws
Devouring Time, blunt thou the lion's paws,
And make the earth devour her own sweet brood;
Pluck the keen Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1019909149300355695.post-832136768183137492016-06-02T13:15:00.000-05:002016-06-02T13:15:01.296-05:00Celebrating Elgar’s Big Music with Small Ensembles
Two new arrangements to mark the anniversary of Elgar's birth!
Sea Pictures, op. 37 for mezzo and string quartet
"Composer Kim Diehnelt uses subtle tricks of her craft to evoke full orchestral nuance."
…”this will make the “Sea Pictures” available for singers unable to perform with an orchestra and bring the work to a wider audience. - Hyde Park Herald - M.L. RANTALA
TheUnknownnoreply@blogger.comtag:blogger.com,1999:blog-1019909149300355695.post-4260418777918281012015-06-26T10:00:00.000-05:002015-06-26T10:00:00.831-05:00The Musician in the Mirror<!--[if gte mso 9]>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1019909149300355695.post-39741770079416632652015-03-17T14:00:00.000-05:002018-11-20T12:29:29.149-06:00Elgar Spotting – Sea Pictures
I’m in the final days of
rehearsals of Edward Elgar’s song-cycle Sea
Pictures, Op 37, with contralto Elizabeth Hale Knox.
This will be our third collaboration
performing Sea Pictures! We both are
enjoying a chance to revisit the work, as we continually find new layers and
twists.
I remain surprised,
however, that our performance is the only
one listed by the Elgar Society’s PerformanceUnknownnoreply@blogger.comtag:blogger.com,1999:blog-1019909149300355695.post-70708976129647442892014-04-15T15:00:00.000-05:002014-04-15T15:00:02.104-05:00By the Sounds of Things
I recently received the list of winners for a new music
competition and I was struck that all of the nine winning works had similar
titles.
Every composition had a title referring to a thing (or
things). All were nouns. Some were things in nature, such as echo, undercurrents, even bugs.
Others were things such as mirrors, points and flourishes.
Why are we enthralled with capturingUnknownnoreply@blogger.comtag:blogger.com,1999:blog-1019909149300355695.post-14043164508551520192014-01-23T14:00:00.000-06:002018-11-20T12:19:17.512-06:00Answering the Call for Scores - Practical Notes for ComposersI've been busy going through submissions of new works received through the Northwest Symphony Orchestra’s Call for Scores. It would be quite impossible to give each composer personalized feedback, so here I answer the call for scores with some practical notes for composers.
First, know your instruments.
I prefer transposed scores, the ones NOT in C. According to the Music Arrangers Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1019909149300355695.post-64367906675317872392013-04-09T11:30:00.000-05:002013-04-09T17:38:59.476-05:00A Message in a Bottle - for a Young ArtistYou have a gift.
They call it “a gift” -
now it remains separate
from you.
How can you say “I am a gift” -
even Plato would complain.
You have a gift.
Now what your occupation?
A dutiful messenger?
A toiling gardener through turning
seasons?
An attentive slave?
You have a gift.
A willful siren whose song
refuses to be hushed –
despite imminent shipwrecks on
despairing Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1019909149300355695.post-49997882095476307782012-08-02T15:00:00.000-05:002013-08-26T19:07:31.187-05:00Discarding the Fourth Wall of Classical Music
This summer I’ve been taking a break from my own musicking and taking in other people’s performances and compositions. One concert oddity keeps coming up: the fourth wall.
You may well know the scenario. You arrive early to a concert with high expectations only to be kept in the lobby because the orchestra is “still rehearsing.” Then you’re allowed into the hall only to be subjected to the Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1019909149300355695.post-44010422766516283512012-03-06T14:00:00.000-06:002013-05-04T09:34:41.277-05:00Debriefings on Recent Jury DutyJury duty is a unique experience. The premise is ‘getting it right.’
The task is neither governed by the clock (it’s 4 o’clock - I’m done, time to go home!) nor by just getting it ‘done.’ (it’s off my desk!)
Here the goal is to get it right - just and fair.
‘Getting it right’ entails listening, thinking, seeing more than one side, holding an open mind, and questioning.
Privately Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1019909149300355695.post-66292443636881829672012-01-24T15:00:00.000-06:002012-01-26T15:52:14.059-06:00When Perfection Paralyzes
I’ve worked with musicians of various stripes in their endeavors to prepare artistically for a performance. As an artistic coach and conductor I have found there are usually three types of preparation styles that musicians use to develop their performance concepts of a work.
The first type of player looks to others for answers to How does the piece go? What is the right way to play this Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1019909149300355695.post-24198123664392196782011-12-17T13:00:00.000-06:002012-03-30T11:13:51.047-05:00Cheers! A wine-tasting approach to music benefits performers.
Wine-tasting and listening to music pair well, of course, and share some important traits. First, both are perceived by a ‘hidden’ sensory organ. Tasting and hearing happen inside the head in a way that makes it very difficult to point out to another person just what, where, or how an object is to be perceived. Unlike visual perception, there is nothing to nail down for all to witness. Second, Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1019909149300355695.post-53421154834282320522011-10-15T12:00:00.000-05:002013-06-12T09:00:17.196-05:00Do you play Diehnelt or Caprio? Revamping the role of composer.
With an approaching premiere of the work premiere of CAPRIO, for oboe and strings I’ve had lively conversations with performers and music-lovers. One striking question keeps appearing: Does the performer play Diehnelt the composer, or Caprio the work-entity?
Music, unlike literature and theater, tends to perceive the composer - or “the composer’s intent” - as the aspect to dwell on, exploreUnknownnoreply@blogger.comtag:blogger.com,1999:blog-1019909149300355695.post-66447197150896188732011-08-25T13:00:00.011-05:002012-02-04T15:08:45.316-06:00The Artist’s Struggle: Seeing beyond the boulderI enjoy exploring the histories and ideas about myths as I find they help me grasp the deeper premise of musical gestures and metaphors. I’m currently chewing on the myth of Sisyphus as it is presented in Phil Cousineau’s book Once and Future Myths: The Power of Ancient Stories in Modern Times
He offers this story as one to guide and inspire the artist. Yes, Sisyphus was the fellowUnknownnoreply@blogger.comtag:blogger.com,1999:blog-1019909149300355695.post-79330428149390515982011-06-01T13:11:00.000-05:002013-10-11T09:36:20.259-05:00What is it like to be a female conductor?
Yes, this is the question heard most frequently: “So what is it like being a female conductor?” People are curious so I’ll cut to the chase: You do a lot of hand-holding.
Let’s start by asking, “What is it like to be female?” It is to be either invisible or intimidating.
Seven months ago I made a new acquaintance and gave him my card which says “Kim Diehnelt –Conductor” in bold lettersUnknownnoreply@blogger.com