MARTIN KENNEDY
MARTIN KENNEDY
Composer and pianist Martin Kennedy received his doctorate in composition from The Juilliard School where he studied with Samuel Adler and Milton Babbitt. He holds a Bachelor's degree in both piano performance and a Master's degree in composition from Indiana University, where he studied with Don Freund, David Dzubay, Claude Baker, and Sydney Hodkinson.
Kennedy has received numerous awards including the BMI Student Composer Award, the ASCAP Foundation Rudolf Nissim Prize, five ASCAP Morton Gould Young Composer Awards, the ASCAP Raymond Hubbel Award, and the Indiana University Dean's Prize in composition in both 1998 and 2002. His compositions have been featured by the Royal Philharmonic Orchestra, the American Composers Orchestra, the Bloomington (IN) Camerata, the Symphony in C (formerly Haddonfield Symphony) (NJ), the Polish National Chamber Orchestra of Slupsk, the Shenandoah (VA) Symphony, and the Tuscaloosa Symphony among others.
An active pianist, he regularly performs with members of the Saint Louis Symphony. He has also toured with violinist Lara St. John and with flutist Thomas Robertello, with whom he recorded Souvenir: Works by Fauré and Kennedy in 1999.
Kennedy is currently Assistant Professor of Composition at Washington University in St. Louis.
For more information regarding Martin Kennedy or his works, please visit his website at www.martinkennedy.com
View scores here (roll over to view score title):
|
 | 2010: ASCAP Foundation Rudolf Nissim Prize | | 2008: Morton Gould Young Composer Award, for All Hands on Dec | | 2007: Commission: The Tuscaloosa Symphony Orchestra – Piano Concerto | | 2007: Morton Gould Young Composer Award (Honorable Mention), for Suite for string quartet | | 2006: Commission: Musica Reginae – Suite for string quartet | | 2005: ASCAP Morton Gould Young Composer Award, for Oranges: 4 Pastorals | | 2005: Winner of Haddonfield Symphony Composer’s Competition, for Oranges: 4 Pastorals | | 2004: BMI Student Composer Award, for Piano Sonata | | 2003: Commission: Soheil Nasseri/Twentieth Century Classical - Piano Sonata | | 2003: Morton Gould ASCAP Young Composer Award, for A Pantry Ballet in Four Acts | | 2003: Participant in the American Composers Orchestra Whitaker New Music Reading Sessions | | 2002-: Member of the New Juilliard Ensemble | | 2002: Commission: Becky Cherian, Co-Principal of the Pittsburgh Symphony - Theme and Variations for Trombone and Piano | | 2002: Commission: Duo46 - Distractions | | 2002: Commission: Massachusetts Flute Choir - A Pantry Ballet in Four Acts | | 2002: Commission: Soheil Nasseri - Barcarolle | | 2002: Indiana University Dean’s Prize in Composition, for Juvenilia | | 2002: Morton Gould ASCAP Young Composer Award, for Four Welsh Forms | | 2002: Recipient of fellowship to study at the Aspen Music Festival | | 2000: Commission: Alan Bennett, Professor of Voice at Indiana University - The Touch of Dreams | | 2000: Commission: Kim Walker, Professor of Bassoon at Indiana University - Fables | | 2000: Morton Gould ASCAP Young Composer Award, for Three Pieces for Orchestra | | 1999: ASCAP Raymond Hubbel Award | | 1999: Commission: Howard Klug, Professor of Clarinet at Indiana University - Six Miniatures for Bass Clarinet and Piano | | 1998: Commission: Alabama Boychoir - The Lamb | | 1998: Commission: Thomas Robertello, Professor of Flute at Indiana University - Four Songs for Flute and Piano and Concerto for Flute and Orchestra | | 1998: Featured on CD "Music from Indiana University" | | 1998: Indiana University Dean’s Prize in Composition, for These Parting Gifts | | 1998: Morton Gould ASCAP Young Composer Award, for These Parting Gifts | | 1997-2002: Member of the Indiana University New Music Ensemble | | 1995: National Winner of the MTNA/CPP-Belwin Student Composition Competition | | V.C. Starr Doctoral Fellow at the Juilliard School |
All Hands on Dec for Ten Pianos (2007) -- 7'30"
Available from the Presser Rental Library
Premiere Information: October 28th, 2007. Various performers, conducted by Leonard Slatkin, St. Louis, MO.
Barcarolle for Piano (2002) -- 5'
Available From Composer
Basso Ostinato for Piano (2002) -- 3'
Available From Composer
Brass Quintet (2001) -- 9'
Available From Composer
Distraction for Guitar, Violin and Viola (2002) -- 6'
Available From Composer
Fables for Bassoon and Two Percussion (2000) -- 14'
Available From Composer
Five Complaints for Woodwind Quartet (1997) -- 9'
Available From Composer
Flute Concerto (Piano reduction) (20') -- 1999
1 2 2 2 - 4 2 3 1; Timp. 2Perc. Hp. Str.
Published: #114-41095
Four Songs for Flute and Piano (1998) -- 15'
Published: #114-41011
Additional Information: Sample audio clip available at www.martinkennedy.com.
• Recordings
• Reviews
Four Welsh Forms for Oboe, Soprano Sax., Harp, Guitar, Violin, Viola, and Contrabass (2001) -- 4'
Available From Composer
Le Sentier for Flute, Oboe, Clarinet, Horn, Trumpet, Harp, Piano, Violin, Viola, Violoncello, and Contrabass (1997) -- 9'
Available From Composer
Six Miniatures for Clarinet or Bass Clarinet and Piano (1999) -- 13'
Available From Composer
Sonata for Piano -- 30'
Solo Piano
Published: #110-41762
Premiere Information: 16th March, 2004. Soheil Nasseri, Piano, Alice Tully Hall, Lincoln Center, New York.
• Reviews
Souvenir for Flute and Piano (1995) -- 3'50"
Published: #114-41012
Additional Information: Transcription for Flute, String Orchestra and Harp also available.
• Recordings
• Reviews
Stanislas for Piano Trio (1996) -- 3'
Available From Composer
Suite for String Quartet (2006) -- 15'
Available From Composer
The Proof of Darkness for Six Violas (1997) -- 6'
Available From Composer
Theme and Variations for Trombone and Piano
Available From Composer
These Parting Gifts for Two Violins and Piano (1997) -- 11'
Available From Composer
Toccata for Piano (2001) -- 5'
Available From Composer
Trio for Flute, Violoncello, and Piano (1998) -- 6'
Published: #114-41098
Available Separately:Set of parts (#114-41098P)
Full Score - Large (#114-41098S)
Concerto for Piano and Orchestra (2008) -- 27'
Solo Piano; 3(Picc.) 3(E.H.) 3 3(Cbsn.) – 4 3 3 1; Timp. 3Perc. Str.
Available from the Presser Rental Library
Commission Information: Commissioned by the Tuscaloosa Symphony Orchestra and the Gloria Narramore Moody Foundation.
Premiere Information: May 10th, 2008. Molly Morkoski, piano, Tuscaloosa Symphony Orchestra, conducted by Shinik Hahm; Tuscaloosa, AL
Movements:
• I. Passacaglia—Adagio
• II. Molto allegro e ritmico
• III. Molto andante e espressivo
• IV. Allegro ma non troppo
• Reviews
Juvenilia for Orchestra (2001) -- 7'30"
1(Picc.) 2(E.H.) 2(B.Cl.) 2(Cbsn.) - 4 3 3 1; Perc. Cel. Hp. Str.
Available From Composer
Oranges: 12 Pastorals (2005) -- 45'
3(Picc.) 3(E.H.) 2 2 A.Sax. – 4 2 2(B.Tbn.) 0; Timp. 2Perc. Hp. Pno./Cel. Str.
Available From Composer
Souvenir for Flute and String Orchestra with Harp (2000) -- 3'50"
Available from the Presser Rental Library
Additional Information: Original version for Flute and Piano also available.
• Recordings
Three Pieces for Orchestra (1999) -- 8'
2-2-2-A.Sax.-2; 2-1-2-1; Perc., Hp., Cel., Str.
Available from the Presser Rental Library
Additional Information: Sample audio clip available at www.martinkennedy.com.
Totentanz by Franz Liszt, arranged for violin and orchestra by Martin Kennedy and Lara St. John (2007) -- 16'
Solo Violin; 2(Picc.) 2 2 2 – 4 2 2 1; Timp. Perc. Str.
• Reviews
Trivial Pursuits for Violin and Orchestra (2009) -- 8'
Violin solo; 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.); 4 2 3(B.Tbn.) 0; Timp. 2Perc. Hp. Cel. Str.
Available from the Presser Rental Library
Premiere Information: March 19th, 20th, 2011. Lara St. John, Violin, South Dakota Symphony conducted by Delta David Gier.
Additional Information: winner of the 2010 Nissim Prize from ASCAP
Chamber Songs for Soprano, Harp, and String Quartet (1999) -- 7'
Available From Composer
my eyes / your eyes for Choir, Marimba, and Vibraphone or for Choir alone (2006) -- 5'
The Lamb for Boychoir and String Trio (1998) -- 5'
Available From Composer
The Touch of Dreams for Tenor, Clarinet, and Piano (2000) -- 10'
Available From Composer
| Souvenir for Flute and String Orchestra with Harp |
| |
| |
"Martin Kennedy's Concerto for Piano and Orchestra may be new, but its buoyant sound harkens back to the bold, sophisticated popular classical American music of the 1940s and 1950s. Kennedy's piece, which debuted Sunday afternoon by the Tuscaloosa Symphony Orchestra, has the audacity to be likeable, tuneful and utterly accessible.
The piece highlighted the final bill for the orchestra's 2007-08 season at the Concert Hall in the University of Alabama's Moody Music Building. The orchestra commissioned the work from Kennedy, an assistant professor of composition and theory at Washington University in St. Louis, in honor of Gloria Narramore Moody.
At the piano was Molly Morkoski, whose striking green gown matched the shimmering texture of the concerto she was playing. She combined with the orchestra, under the passionate baton of Shinik Hahm, to produce an invigorating sound that gave a clear, dynamic reading of the concerto. The third movement, in particular, combined emotional complexity with a sleekness that evoked the fascination and melancholy of urban life.
Morkoski and the percussion section stood out, especially in the final movement. Morkoski clearly relished performing the debut of a work that sent her hands scurrying up and down the keyboard. To me, the piece resounded with the atmosphere of America circa 1950 — jazzy, confident, sleek and grinning"-Richard Comte, The Tuscaloosa News
"[Stephen] Gosling was even more powerful in Martin Kennedy's extravagantly written Theme and Variations [from his Piano Sonata]. Kennedy begins with a lazy theme that quickly swells to Lisztian proportions, requiring heroic keyboard prowess. Its quiet ending, dappled with the faint sounds of an ambulance passing by outside, made Gosling's sweat and blood feel all the more tangible."-Bruce Hodges, MusicWeb International"The evening opened with the European premiere of an ambitious Sonata that the similarly-aged Martin Kennedy wrote specifically for [pianist Soheil] Nasseri. The Sonata is dense with a continuity of eloquence that flows naturally under Nasseri's agile, sensitive, and secure fingers."-Pietro Misuraca, Giornale di Sicilia
"The unexpected in Friday's concert came courtesy of Martin Kennedy… When I say that he has accepted vibes from a variety of sources, I do not mean to suggest he lacks his own voice. No, indeed. These pieces, which effectively make the flute an equivalent of the vocalist, have been beautifully constructed by someone with a musical mind of his own... Throughout, he has given both the pianist, in this case himself, and the flutist, the remarkable agile Robertello, various sorts of challenges that, nevertheless, at all times, serve the cause of music rather than mere technical exhibition. Both composition and performance impressed."-Peter Jacobi, Bloomington Herald Times"[Four Songs and Souvenir] are sure to become staples of the flute repertoire."-Flute Talk
"Flutist Thomas Robertello’s pairing of Souvenir by Martin Kennedy with the Fantaisie by Gabriel Fauré was heart-stoppingly beautiful. Kennedy’s sound world is so closely related to Fauré that without peeking at the program, one would think his Souvenir was one of the myriad lovely French salon pieces — no wild technique, just simple beauty — but with an enchanting, fresh touch... I later picked up and devoured a CD of works by both Kennedy and Fauré recorded by Robertello and Kennedy, the composer and pianist."-Gayle Williams, The Longboat Observer"Both Gabriel Fauré's Fantasie and Martin Kennedy's Souvenir provoke precisely that sensation, contrasting the elegiac flute melody with the rhythmic pulse and color of the piano. Fauré's distinctive French style seems to have been the model for Kennedy's later exploration of very similar thematic material."-Richard Storm, Sarasota Herald-Tribune"[Four Songs and Souvenir] are sure to become staples of the flute repertoire."-Flute Talk
"It is an extraordinary piece and should find a prominent place with our flute choir enthusiasts."-Jeanne Baxtresser
"…dense with a continuity of eloquence."-Pietro Misuraca, Giornale di Sicilia
| Totentanz by Franz Liszt, arranged for violin and orchestra by Martin Kennedy and Lara St. John |
". . . the violinist's adaptation of Liszt's "Totentanz" is the true center of this recording. Liszt was a virtuoso's virtuoso and his compositions were for the glory of only one: himself. But when one has talent to burn, that is okay. St. John and collaborator Martin Kennedy coax all of the Lisztian pathos from the master's dance of death. In the bargain, the two identify Liszt as an integral link between the great Beethoven and Wagner—in Liszt, those two geniuses shake hands."-C. Michael Baily, allaboutjazz.com"[T]he real showstopper here is the gloriously unrestrained, deliriously over-the-top adaptation of Liszt's demonic Totentanz, which St. John negotiates with scintillating abandon and chutzpah, supported to the hilt by some deliciously uncoiffered playing from the Royal Philharmonic Orchestra's brass section."-Julian Haylock, The Strad"The final piece on the record is the Totentanz, written for piano and orchestra by Liszt and published in its final version in 1865. St. John's charming note on this transcription says she worked out the violin part while Kennedy reorchestrated the piece, and the result is most successful. While it has all of Liszt's short-attention-span style of compositional organization, it also has all of his razzle-dazzle, and the result is a violin showstopper with a very muscular orchestral part. It could be a nice addition to a solo violinist's repertoire, and St. John and Kennedy should be commended for fashioning it with intelligence and taste."-Greg Stepanich, The Palm Beach Post
Page last updated November 14, 2011
|
|
