vendredi 14 mars 2014

Steve Kornicki - Tempo Distortion #5


Steve Kornicki
Steve Kornicki (born 1968 Philadelphia, PA) composes music resulting from
planned improvisations involving slow-motion tone rows and fractal, self similar rhythms. His
music consists of contrapuntal textures of non-melodic lines and structures built from
sustained tones and repeated single note patterns with an underlying tonal or modal harmonic
foundation. The music, no matter how conceptual, always maintains a continuous sense of
drama. Kornicki studied composition with Jeffrey Mumford (a student of Elliott Carter) and
guitar performance with William Peters at Philadelphia’s Settlement Music School. In 2013
Kornicki was awarded a “Special Citation of Excellence” by the College Orchestra Directors
Association (CODA) International Composition Competition for his orchestral work based on
fractals and self similarity, “Fanfare in a Continuum of Gradual Momentum”. His works have
been performed by pianist Nicolas Horvath, Kiev Philharmonic, Rhodes College Orchestra, the
Juilliard-based New York Miniaturist Ensemble, percussion ensembles at Ithaca College (under
Gordon Stout), California State University Long Beach and the University of Central Florida and
percussionists Dr. David Gerhart, Dr. Thad Anderson, Evan Chapman, and Scotty Horey. He also
composes commercial production music for television, film and media with credits including CSI
Miami, CBS Sunday Morning News, Jersey Shore, MTV, VH1, Animal Planet, Discovery, History
and many more.

Tempo Distortion #5

(by the composer himself)

Tempo Distortion #5 composed by Steve Kornicki in January 2014 is a soundscape in shifting
tempi for piano and electronically altered piano sounds, written for and dedicated to Pianist
Nicolas Horvath.
The piano part consists of 24 repeating patterns in octaves (two patterns-per-tone of a 12-tone
row) that each gradually shift in tempo. Piano row = Bb, C#, F, A, D, G, B, C, Eb, G#, E, F#
The tape consists of a collage of electronically altered piano sounds, layered in looping patterns
also following a set 12-tone row. The combination of the piano's sliding tempi mixed with the
looping patterns in the tape produces a collage of phasing rhythms with layers of harmonic
groupings produced by the overlapping and gradually expanding tone rows.
The Tempo Distortion series of compositions are based on the concept of performers playing in
continually shifting tempi or simultaneously occurring tempi and are concerned with the
deconstruction of musical time and rhythmic perception displacement. These works utilize
musical systems consisting of contrapuntal textures of non‐melodic lines and structures built
from repeated single note patterns and sustained tones with an underlying modal or harmonic

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