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Worms, Marcel, ed Blues in the Shape of an Apricot Tree (Kokzhayev, Mikhail) J'Imali Wali (El-Masri, Abdalla) White-Black Blues (Alan Mills) Hidden Blues (André Smith) Blues for Zephyr (Sibicky, Nicholas A.)
Marcel Worms about 'Blues in the Shape of an Apricot Tree':
"Across the landscape of Armenia, the apricot tree is present in a prominent way. The composer was inspired by its presence as well as by the paintings of Martiros Saryan, one of the most famous Armenian landscape painters."
André Smith about 'Hidden Blues':
"An interpretation of a day in the life. Of life. We all rise to the sound of our own song. Although the underlying melody may not change and will give us the motor and drive for each day, we will at some point wrestle with varying emotions from helplessness to jubilation, apin to laughter, anger to joy. The fundamental realization is that you can never preempt in which order these will occur, but that, overall, we strive for that perfect resolution. As we battle with ourselves, there will be times that will be made clear and are self-explanatory. Others will be dark, empty, even chaotic. Once we stop focus-ing so much on matters of inconsequence and open ourselves to the whole picture, the realization of true significanca becomes clear. True sense of achievement will always surpass that which once was."
Alan Mills about 'White-Black Blues':
"White-black Blues was written in 2007, after I had recently come across the original recordings of American blues singer Robert Johnson from the 1930s and therefore had some of this tradition on my mind. That having been said, the present piece is really an example of classical blues, following in the tradition of Aaron Copland, Constant Lambert and (more recently) Peter Dickinson - all composers that I admire. The idiom and form of my own piece are very straightforward and hopefully quite clear. The title was chosen for a number of different reasons, but most obviously refers to the white note opening phrase that soon modulates to the black notes. During the course of the piece, this is followed by several passages that pit the two colors against one another."