I composed Lullaby for violin and orchestra in 2002, with revisions added in 2018, to celebrate the birth of Enrico Liva, the son of my friends Victor Liva and Jennifer Shaw. In keeping with the nature of a lullaby, I chose a lyrical and harmonically lush environment with violin solo, the instrument played not only by Victor but also by many generations of the Liva family. Today’s performance is an adaptation of my recent arrangement of Lullaby for violin and piano. Although Lullaby is a considerable departure from my usual compositional interests, it is my hope that it achieves what I set out to accomplish, namely, to embrace gently with wonder the beauty of the newborn child.
Lullaby for violin and orchestra is available on BENEATH THE TIDE from Navona Records (NV6216) with Goran Končar and the Croatian Chamber Orchestra conducted by Miran Vaupotić.
Bruce Reiprich’s music has been described as having “unapologetic lushness”(NewMusicBox), as “post-romantic radiance” (Danbury News-Times), “a contemplative mood, its sedate pace subtly dilating the flow of time” (Eagle Rock Patch), “a deeply personal mediation on the poet’s feelings” (San Francisco Classical Voice), “very powerful” (All Music Guide), “lovely and evocative” (Guitar Review-New York), “very impressive” (Cumhuriyet-Turkey), and “of special interest” (Guitar International-England). With compositions that span the gamut from overt tonality and metric regularity to atonality and pronounced rhythmic flexibility, he explores the beauty of lyrical lines, lush harmonies and colorful textures. Composers as diverse as Toru Takemitsu, Pierre Boulez, György Ligeti, Luigi Nono and Samuel Barber have been particularly influential in the development of his own style.
Much of Reiprich’s music is a reflection upon images of nature found in the Turkish poetry of Oguz Tansel and in classical Chinese and Japanese poetry. Recently, he has been influenced by the long sentences with spiraling subordinate clauses that Marcel Proust employed in his In Search of Lost Time, as well as the long, rhapsodic sentences of László Krasznahorkai, Claude Simon and Mircea Cărtărescu. Ultimately, it is the serene and contemplative–the unexpected moment of self-contained and quiescent beauty in nature and art–that serve as Reiprich’s inspiration.
His music has been heard abroad with performances in Brazil, China, Columbia, England, Germany, Poland, Portugal, Romania, Turkey, and Mexico, and throughout the United States in major cities such as New York, Washington, D.C., Boston, Philadelphia, Baltimore, St. Paul, Detroit, Chicago, Los Angeles, Oakland, and San Francisco, and in numerous radio broadcasts. International, national, and regional festival performances include the Festival of New Music: Touchpoints (Portugal), Săptămâna Internatională a Muzicii Noi (Romania), Shenyang Conservatory Festival of American Music (China), Piano Spheres, Bang on a Can Summer Music Festival at Mass MoCA, the International Double Reed Society Conference, the North American Saxophone Alliance National Convention, the International Contemporary Music Festival in Mexico City, the Society of Composers National and Regional Conferences, the Cambridge (England) Summer Recitals, the Chiron New Music Festival (New York), the Eleventh Annual New Music and Art Festival at Bowling Green State University, the Dorflinger Wildflower Festival (Pennsylvania), the University of Delaware Contemporary Music Festival, the John Donald Robb Composers’ Symposium (New Mexico), the Heidelberg College New Music Festival (Ohio), the Chaparral MusicFest (Arizona), the San Francisco Chamber Wind Festival, the New Directions Concerts (California), and the University of Nebraska at Kearney New Music Festival VIII.
His music has been performed by violinists Miranda Cuckson and Goran Končar, pianists Ana Cláudia de Assis, Gary Barnett, Stephen Gosling, Vicki Ray, and Mark Robson, guitarist Andrzej Mokry, Albuquerque Youth Symphony Orchestra, Boston Modern Orchestra Project (Club Cafe Series), Boston New Music Initiative, Bowling Green Philharmonia, California E.A.R Unit, Caulkins Guitar Duo, Chamber Mix, Civic Performers Innovative Music, Composers, Inc., Cobalt Saxophone Quartet, Croatian Chamber Orchestra, DaPonte String Quartet, Duo Sigma, Ensemble Flageolet, Ensemble Talea-Halle, Erasable Color, Flagstaff Symphony Orchestra, Grand Circle New Music, Gregg Smith Singers, Hartt Contemporary Players Ensemble, Hradec Kralove Philharmonic Orchestra (Czech Republic), Indiana University New Music Ensemble, Ives Chamber Orchestra, Kithara Guitar Trio, Knox-Galesburg Symphony, Larson-Taylor-Allvin Trio, Lyric Consort, Mana Saxophone Quartet, Oakland Civic Orchestra, Oficina Música Viva (Brazil), Performing Arts Institute Symphony Orchestra, Pro Musica Chamber Orchestra of Columbus, Singers Guild of Scranton, Society for New Music, Soundings Percussion Duo, Third Coast Percussion, Washington Square Contemporary Music Society/League ISCM Chamber Players, Wyoming Valley Oratorio Society, and Zeitgeist, among others.
He is presently director of the contemporary music ensemble, Ensemble Flageolet (www.ensembleflageolet.com). His music is published by the American Composers Alliance (www.composers.com)