Star-Ledger previews Institute world premieres

The Star-Ledger previews tomorrow night's special NJSO performance—the world premieres of works by the four composers of the inaugural NJSO Edward T. Cone Composition Institute.

Ronni Reich chats with NJSO Music Director Jacques Lacombe about the four composers, their respective works and the experience they have received at this week's Institute:

"We were looking at different personalities, people who we felt already had enough experience but also could benefit from working with Steve, the orchestra and myself," said music director Jacques Lacombe, who will conduct the concert at the Richardson Auditorium.

The program begins with "Scaena Ager" by Daniel J. Choi, a recent graduate of the University of Miami with bachelor's degrees in composition and economics. He has already held three workshop residencies with the Cleveland Orchestra. Lacombe describes his piece as "very atmospheric," with intriguing moods and inspired by the third movement of Berlioz's "Symphonie Fantastique."

David Biedenbender, a two-time ASCAP Morton Gould Young Composers Award winner, has written "Strange, Beautiful Noises" for the occasion. According to Lacombe, it is a rhythmically driven work with a noteworthy trombone solo, with percussive and brassy leanings. Biedenbender holds a doctorate of musical arts from the University of Michigan and his work has been played by contemporary ensembles Alarm Will Sound and the PRISM Saxophone Quartet.

Lembit Beecher's "Kalevipoeg in California," says Lacombe, has hints of minimalism as well as a colorful score that reminds him of Michael Torke. Beecher has already been the first composer-in-residence of Opera Philadelphia in collaboration with Gotham Chamber Opera, and his work has been performed at the Tanglewood, Aspen and Cabrillo music festivals. He holds degrees from Harvard University, Rice University and the University of Michigan.

The night concludes with Chris Rogerson's "Night and the City," which Lacombe compares to a festive overture that sometimes recalls Aaron Copland and John Williams.

"It's very well built, and it has a nice kind of groove to it that I very much like," he said.

The institute has exposed the composers to comments from members of the orchestra about how to best write for their instruments and for opportunities to understand what their work sounds like off the page and in the real world. Throughout the week, they have tweaked and edited their pieces as the NJSO has provided guidance.

Read the full feature at nj.com.

Follow our blog of the week's events and learn more about the Institute composers.