| Kenji Bunch has quickly emerged as one of the most prominent, prolific, and versatile American composers of his generation. His unique blend of wit, exuberance, lyricism, unpredictable vernacular infusions, and expert craftsmanship has brought critical acclaim for his two symphonies, several concerti, chamber opera, song cycle, numerous chamber works, and several non-classical and experimental compositions.
Mr. Bunch’s symphonic music has been performed by over 30 American orchestras, and his genre-defying chamber works have been performed in premiere venues on six continents, are regularly broadcast on national radio, such as NPR, BBC, and NHK, and have been recorded on labels including Sony/BMG, EMI Classics, Koch, Kleos Classics, RCA, Pony Canyon, Genuin, Capstone, MSR Classics, and Crystal.
A native of Portland, Oregon, Mr. Bunch studied at The Juilliard School, receiving his Bachelor and Master of Music degrees in viola with Toby Appel, and in composition with Robert Beaser. Other composing mentors include Eric Ewazen and Stanley Wolfe.
Mr. Bunch still maintains an active career as a performer. As a solo and collaborative musician, he continues a presence as one of New York’s premiere interpreters of new and experimental music. Also a dedicated teacher, Mr. Bunch has developed and conducted residencies, workshops, and master classes across the country in composition, viola performance, improvisation, and music appreciation to students ranging in age from kindergarten to adult professionals.
A note from the composer
Velocity was inspired by the “Mannheim Rocket,” a popular compositional technique in the mid-18th century that uses propulsive, wide-ranging arpeggios to heighten the excitement of a work. With the goal of helping to propel virtuosic flute writing into a new century, I wanted to suggest a contemporary treatment of this quirky, fun technique. To this end, my work is made up almost entirely of broken triads and arpeggios, often superimposed between the flute and piano parts, creating bi-tonal clashes.
This arpeggio vocabulary shifts in texture from an opening quasi-minimalism to driving, rock-inspired rhythms and power chords, to a lyrical, falling arpeggio in canon that outlines poignant major seventh chord harmonies. A bebop-tinged coda leads to a last virtuoso presentation of the “Rocket.”
As a young composer, I’m deeply honored to have been invited to contribute to this project, and I am particularly excited to write for Marya Martin, who has been a dear friend and supporter of my work for nearly my entire composing career. Velocity is one of three works I’ve written for Marya so far, and I already look forward to the next!
An alternate version of VELOCITY for 2 flutes is published separately (414-41193A). |
