June 27, 2024

Isabella Temperville, Russell N. Avellanosa

Hello Everyone,

If you have not already, I encourage you to use the following link to listen to the most recent episode of the TCC Podcast, featuring the composer Isabella Temperville and her album Infernal Suite.

https://www.tccollaboration.com/12-infernal-suite-isabella-temperville/

As I expressed in both the episode and the trailers posted on social media, the episode with Isabella is probably my favorite episode to-date. This episode was by far the most involved in terms of research, study, and editing. It was such an amazing privilege to privately engage with the fine details of Isabella’s original fantasy world, and I am really surprised that it happened the way that it did. Isabella is not someone that I know in daily life, academically or personally, and I reached-out to her purely off of the things posted on Instagram and her album on Spotify. So, especially with that, I feel very privileged and I am very thankful to have had access to the amazing world of Infernal Suite. If anything, take that as motivation to keep posting your work and developing projects, you never know who will find it! Previously, I don’t believe that I have had many experiences with this kind of multi-media entity or set of ideas, and the music theorist in me is begging all sorts of questions and research ideas off of it. The cyclical and correlational elements within different connected works between different mediums is not something I have not seen very much research on, then again, I have never thought to look it up! This really was a fun and rewarding experience, something that has been a highlight so far in the relatively short life of the TCC.

Thank you again to Isabella Temperville for coming onto the podcast alongside her album Infernal Suite.

I am excited to preview the next featured guest on the TCC podcast, which will be the composer Russell N. Avellanosa and his piece Lavender in a London Fog. It is always a fun time to talk to a good friend, and that is one of the many reasons why I am excited to have Russell on the podcast. My conversations with Russell, throughout the couple of years that we have known each other, have always been some of the most wide-spanning, deep, and fun conversations about music, music academia, composition, etc. Essentially, a perfect palate of ideas for this podcast! I will also tease that Lavender in a London Fog is also something that I have particular familiarity with, as I am on the recording! Somewhere in the second violin section that is, as this is a piece for full orchestra. There is much more that I want to share, but you all will have to wait for the release of the full episode this coming Monday. You definitely won’t want to miss it!

I am also excited to tease that the next guest after Isabella Temperville is the composer Natalia Rojcovscaia-Tumaha and her piece Philosophy of a Miracle, an exciting and dynamic piece for full orchestra which is the beginning of a much larger musical work. More on this in next week’s blog post!

Again, don’t forget to listen to the most previous episode if you missed it, featuring the composer Isabella Temperville and her album Infernal Suite, an absolutely must-listen episode. Make sure to follow our social media links below and the podcast streaming platform of your choice to keep up-to-date on new episodes and blog posts from the TCC. Additionally, set your calendar and/or streaming subscriptions to this coming Monday, July 1^st for Russell N. Avellanosa and his piece Lavender in a London Fog. You won’t want to miss it, and we’ll see you there!

- Aaron

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Aaron D'Zurilla

TCC Founder/Music Theorist

Hello, my name is Aaron D'Zurilla and I am the primary host and founder of the Theorist Composer Collaboration. I created the Theorist Composer Collaboration out of a love of the connection between the artist and their art. Music theory, in my view, is a lens and avenue in which to understand people and their experiences. Often, as music theorists, and individuals attempting to find success in a historically hierarchical field, we find ourselves turning-away from modern music and artists when choosing what to study. As many academics could attest, the decision to study or analyze a work goes beyond that simple decision. It is a choice to highlight, spotlight, platform, and even promote the continuation of a commodity or idea, even if it is in a critical light. While there is plenty of space for such scholarship, and new inventive work in the field of music theory is developed everyday across the world in numerous topics, there is a stark lack of attention to the new music of today.

My personal rationale can be surmised in that we should not wait for music to be 40,50,80+ years old to begin pondering the creation of the art of today. Why wait to engage with literal generations of new composers, creating worlds of novel sounds and experiences everyday across the world? Generally, when looking at where composers and their compositions find support, it is within the composition community, across academia, festivals and through online platforms specific to the field. The hope of the TCC is to expand the support for modern, living compositions outside of these ar… Read More

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