Last updated 12/31/2014 Fall 2014 Spring 2014 Fall 2013 Summer and Spring 2013 MISCELLANEOUS
Coalescence One for drum set solo, composed for percussionist Aaron Staebell, received its premiere at Pausa Art House in Buffalo, NY on October 25.
Odds are Even for flute, bass clarinet and piano was premiered by Ann Fairbanks (flute), Richard Nunemaker (bass clarinet) and Jasmine Hatem (piano) on November 20 as part of the University of St. Thomas Woodwind Ensemble Concert held in Cullen Recital Hall on the UST campus, Houston, Texas.
Other Fall 2014 performances include Where Does it End? for tenor voice and piano performed by Jason Oby, tenor, Jane Perkyns, piano on the Faculty Showcase recital held in Rhinehart Auditorium on the campus of Texas Southern University on October 21 and a performance by percussionist Joseph Bohigian of
Camaraderie for solo timpanist and percussion ensemble was released by Keyboard Percussion Publications, a division of Marimba Productions, Inc.
Two compositions by Daniel Adams received their premieres in March and April. Recombinant for percussion ensemble was premiered by Hamiruge, the Louisiana State University Percussion Ensemble as one of nine works commissioned for the Ion Project, a concert that featured a commemorative performance of Ionisation by Edgard Varese. On April 10. Cryptic Antiphon for trombone choir with two percussionists received its premiere by the West Texas A&M University Trombone Choir conducted by Raimundo Morales in Canyon, TX.
Daniel Adams also received three performances of his Diffusion One for marimba quintet by the University of South Florida Percussion Ensemble conducted by Robert McCormick. On February 1 it was performed as part of the McCormick Marimba Festival at the University of South Florida, Tampa. It was also performed at the University of South Florida New Music Festival on February 14. Adams presented a lecture on Diffusion One and its companion piece Diffusion Two (for snare drum quartet) as part of the festival. Finally, Diffusion One was performed as part of the Florida Day of Percussion at Florida Southern College (Lakeland) on March 29.
Adams also received performances of two of his other percussion ensemble pieces during the fall of 2013. The University of South Florida Percussion Ensemble performed Two Antiphonal Portraits for a twelve-member percussion ensemble in Tampa on October 13, conducted by Robert McCormick. The Rice University Shepherd School of Music Percussion Ensemble, conducted by Richard Brown, performed Protagonist for percussion quartet with tom-tom soloist on November 18.
Adams is a co-author of the Miami entry appearing in the Grove Dictionary of American Music , second edition and on Grove Music Online. He is also the author of an article entitled SCI Members Works Featured at the 41st Annual Convention of the National Flute Association published in the September-October 2013 edition of the Society of Composers, Inc. Newsletter.
Daniel Adams presented a paper entitled Sardanes: The Catalan National Dance as the Thematic Basis of Alberto Ginasteras Glosses Sobre Temes de Pau Casals Opus 48, Movement Three on June 19 at the College Music Society International Conference in Buenos Aires, Argentina. Adams also had the opportunity to meet Georgina Ginastera, daughter of the composer, and converse with her about the topic of his paper.
Protagonist,a percussion quartet with tom-tom soloist was performed on in Columbus, Ohio on February 15 by the Ohio State University Percussion ensemble. The concert was part of the Society of Composers, Inc. National Conference.
Two and One was performed at the Great Plains Chapter College Music Society Conference on March 15 in Kearney, Nebraska by the Trans-Nebraska Players. The performers were Franziska Nabb,flute, Noah Rogoff, cello, and James Margetts, piano.
Daniel Adams is the author of two entries published in the Oxford University Press Encyclopedia of African-American History 1896 to the Present. The titles of the articles are Composers and Miami.
The entry on composers begins with the early contributions of Harry T. Burleigh and other early twentieth century African-American composers who wrote music based on Negro spirituals. The article traces the development of African-American music through the twentieth century and addresses the unique challenges and obstacles that Black composers faced in presenting their music to the general public. The contributions of William Grant Still, Scott Joplin, Ulysses Kay, Hale Smith, and others are discussed and a section on African-American women composers includes mention of Florence Price and Margaret Bonds. The article concludes by acknowledging the diverse influences on modern African-American classical music.
The entry on Miami discusses the social, political and cultural aspects of life in the city since its incorporation in 1896. There is discussion of educational desegregation, Jim Crow laws in Miami Beach, and the historic entertainment venues in Miami's "Colored Town" where musicians such as Billie Holiday, Duke Ellington, and Josephine Baker performed. The tense relations between law enforcement and Miami's black community is discussed with a particular emphasis on the 1980 riots that followed the acquittal of four police officers accused of beating black motorcyclist Arthur McDuffie to death. The article concludes with a discussion of African-Americans' co-existence with Miami's diverse immigrant population.
The Solo Snare Drum: A Critical Analysis of Contemporary Compositional Techniques, originally published by HoneyRock, has been republished by Daniel Adams,the author. It is available from Steve Weiss Music.
The library of the Percussive Arts Society,located in Indianapolis, Indiana, has established the Daniel Adams Collection. The collection is an archive consisting of the composer's sketches, notes, and several original manuscripts. Additional information is available at the PAS website Percussive Arts Society
Fall 2014Daniel Adams received three world premiere performances of his compositions during the fall of 2014. Cumin was premiered on September 4 as part of McCormick Spice Rack a suite of one-minute pieces for flute and percussion by nine composers commissioned for the McCormick Duo (Kim McCormick, flute and Robert McCormick, percussion) by composer Baljinder Sekhon, II. The performance took place in the Barness Recital Hall on the campus of the University of South Florida, Tampa.
Spring 2014Daniel Adams delivered two multi-media presentations based on his article entitled Indeterminate Passages as Temporal and Spatial Components of Three Selected Compositions for Snare Drum Ensemble published in the Fall 2013 Edition of the Journal of the National Association of College Wind and Percussion Instructors (Volume 62, Number 1) for regional meetings of the College Music Society. The first presentation was delivered at the South Central Chapter Conference at the University of Arkansas, Fort Smith on March 8. A second presentation took place at the Great Lakes Chapter Conference on March 29.
Fall 2013Concerto for Euphonium and Percussion Quintet has been released on a CD entitled Praxis, featuring works for percussion solo and ensemble performed by Brian Meixner, euphonium Nathan Daughtrey and Gate City Percussion, conducted by Stephen Barr. The concerto, along with all of the pieces included on the recording, was performed on two concerts commemorating the release of Praxis; September 15 at High Point (North Carolina) University and September 15 at the University of North Carolina, Greensboro. Praxis is available through Potenza Music.
Summer and Spring 2013A new composition by Daniel Adams entitled for the frozen sea inside us for flute and tuba received its world premiere on August 8 at the 41st. Annual National Flute Association Convention held in New Orleans, Louisiana. The premiere was part of a conference concert that included two works performed by the Extreme Duo, Sarah Miles, flute and Benjamin Miles, tuba. Adams composed the piece especially for the Extreme Duo. The origin of the title is part of a quote from a 1904 correspondence from writer Franz Kafka to art historian Oskar Pollak, his friend and schoolmate.