Nathan Kolosko

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				Kolosko/Dimow \| Kolosko/Tsai

Ama Lur	Ama Lur Published by: Published by: Doberman-Yppan See Sample Pages
Pavan	Pavan Published by: Published by: Doberman-Yppan See Sample Pages
Ants Moving a Mountain Ants Instrumental Ants Moving a Mountain Ants Poet	Ants Moving a Mountain Published by: Les Productions d'OZ	While in Taiwan during the summer of 2008, I was introduced to the Taiwanese poet and humanitarian Xie An-Tong. After hearing me perform my Taiwanese folk song arrangements, (Songs from Formosa - Productions D'oz, DZ1071), he approached me about arranging one of the choir settings of his poems for solo guitar. Instead, I suggested a collaboration - that he write a new poem and that I set it to music for choir and guitar. That is how Ants Moving a Mountain came to be. The setting of the poem makes use of the tonal aspects of the Taiwanese language, employing them to shape the melodic content of the work. The setting also includes a quote from a Taiwanese Aboriginal song, (a traditional melody of the Amis tribe from Eastern Taiwan), at the end of each chorus/(B) section of the work. There are two options for accompaniment. The piano accompaniment works best for larger groups; the guitar is better for small chamber settings. The percussion should be performed on stage by choir members. The bass drum should be low in pitch but not excessively loud. The work had its US premier at Bowdoin College, Brunswick Maine, sung by the Bowdoin Chorus under the direction of Anthony Antolini. Nathan Kolosko 2010

Animus Reus	Animus Reus Published by: Doberman-Yppan See Sample Pages	I wrote this work as a gift for several friends of mine who were handed some considerable life challenges. It is slow, lyrical and very expressive in nature. The work is structured as one big arched phrase, and the sixth string is tuned to low C, which gives the work a rich sonority and unique overtones.

	Tonadilla Published by: Doberman-Yppan See Sample Pages	This work is strongly influenced by the music of the Spanish composers Rodrigo and Turina, so much so that I would say that it is a Pastiche. The work is four to five minutes in length but covers a considerable amount of musical territory. It begins and ends with the same theme, evoking a melody head from a distance as in Rodrigo's En Los Trigales. Through an intense triplet passage the work builds to a false cadence before the surprise return of the initial theme, and then a concise dramatic ending.

Nayarit: 1. Preludio 2. Kino 3. Coyotito Duerme 4. Danzas	Nayarit Published by: Les Productions d'OZ	During the winter of 2003, Denver, Colorado experienced a snowstorm of historic proportions. While homebound for a week, Nathan read *The Pearl* by John Steinbeck and sketched out musical ideas for what was to become *Nayarit. Throughout The Pearl* Steinbeck makes numerous references to the music that inhabits the psyche of the book's protagonist, the pearl diver Kino. Kino closed his eyes again to listen to his music. Perhaps he alone did this and perhaps all of his people did this. His people had once been great makers of songs so that everything they saw or thought or did or heard became a song. The goal in composing Nayarit was to bring this imaginary music to life while creating a musical experience that both captures the story of The Pearl and stands on its own as a composition. The Preludio sets the overall mood for the work and introduces themes that return in the final movement. Like the book, this opening is set at dawn with the voice of the ocean and the call of the pearl. Kino explores the internal conflicts of the book's main character who, through the course of the novel, experiences hope, despair, anger and loss. Duerme is a lullaby for Kino's child, Coyotito, whose life is tragically cut short. Danzas opens with a joyful dance inspired by the high-plains fiddle music of Mexico. It is the Song of the Family which is frequently mentioned in the book. The dramatic change of mood in the second half of this movement makes reference to the latter part of the novel; the journey of the family to sell the pearl.

Yangisse Jarabi: Extrait 1 Extrait 2 Extrait 3	Yangisse Jarabi Published by: Les Productions d'OZ	Yangisse Jarabi was inspired by the vocal music of the Aka Pygmies and the kora music of Toumani Diabate. The first movement employs both rhythmic and melodic motives found in the music of the Aka tribe. The slow section enters a completely different musical world before giving way to the light hearted second movement which owes its inspiration to the kora, Africa's magical harp made from a large gourd and played with the thumbs.

Luminance: I II III IV V	Luminance Published by: Les Productions d'OZ	These Five Short Pieces for cello and guitar are tonal, accessible, and deliberately concise in there construction. There are many opportunities for expressive virtuosity and meditative introspection. This work is dedicated to the visual Artist Ling-Wen Tsai whose work often speaks softly but with great depth and integrity. "I have played through and reviewed works by the American guitarist/composer Nathan Kolosko before and as far as I can recall have never been disappointed by anything he has written. Luminance, I am pleased to write, is no exception. Dedicated to the Taiwan visual artist, Ling-Wen Tsai (whose work, by the way, is definitely worth checking out on the Internet). This composition is in five movements, all fairly short, all having an oriental flavour and each one contributing to making this suite a first-rate piece of writing for the cello and guitar repertoire. The mood for the most part tends to lean towards sad and reflective, but this is not depressing music just very emotive. An unusual feature, but extremely effective in this context, comes with the fourth movement (marked Sly, cunning) where the guitarist has to play single melody notes using a brass or glass slide throughout. Playing ensemble music is one of the most pleasant experiences in music making and if you happen to be around Intermediate Grade and know a decent cellist give this work a try, I doubt you'll be disappointed. The presentation is excellent with the guitar part being read from the score (with no page turns) and a separate part for the cellist." Steve Marsh - Classical Guitar Magazine 2009

I - The Dance of Ciocal II - Oilean Thur Ri	The Myth of the Fomorians See Sample Pages Published by: Les Productions d'OZ	The Fomorians were a mythological race believed to have inhabited Ireland in ancient times. There are two distinctly different mythologies based upon the origins of this race. According to an 11th century text called The Book of theDun Cow, the Fomorians, whose name means 'dark of the sea,' were a race of Gaelic demons said to have the body of a man and the head of a goat. The second, and less fantastic story, states that the Fomorians were an ancient sea-faring race thought to have originated in Northern Africa or Asia, perhaps the same race that at one point invaded Spain. This composition, The Myth of the Fomorians, is inspired by that second myth. It poses the musical question; What would the music of Ireland sound like if it were strongly influenced by the Moorish traditions of northern Africa and Spain? The work begins with a dance rooted in traditional Irish music while embracing the harmonic language of Moorish Spain and the rhythms of Northern Africa. The second movement builds to a rasgueado and slur section that evokes both the spirit of the oud and the flamenco guitar traditions of Spain. The work closes with a slow decrescendo and decelerando that is followed by a brief and altered recapitulation of the movements initial theme that ends in subtle suspense.
	The 120 Missing Right hand Studies See Sample Pages Published by: Les Productions d'OZ	These exercises were written to help the beginning guitarist develop precise and effortless right hand technique. They are essential and effective exercises for students of all ages. The title of this collection makes reference to Mauro Giuliani's 120 right hand studies. This set of exercises is an exploration of the fundamental right hand techniques that are the basis for Giuliani's studies and all classical guitar literature.

the lover's broken heart dreaming by the stream black,black sky longing for the spring wind	Songs From Formosa See Sample Pages Published By: Les Productions d'OZ	These arrangements are based on four Taiwanese folk songs. Each setting contains a substantial amount of newly composed material. My goal has been to express the meaning behind the text while creating musical development within each piece. The four pieces were conceived as a set, but can be performed separately or in any effective combination of movements. "Without exception, all of these songs are excellent in their own right and have been exceptionally well arranged by Nathan Kolosko who plays all the four pieces on the accompanying CD. Throughout these pages the music runs through a range of emotions: bitterness, joy, tragedy, humour, sadness and all done in the highest possible taste. Songs From Formosa is an absolutely delightful new release and one I can thoroughly recommend to any player of at least Grade 7 seeking new stylish, attractive repertoire." Steve Marsh - Classical Guitar, September 2008

Five Short Pieces: I II III IV V	Five Short Pieces See Sample Pages Published By: Doberman-Yppan	Five Short Pieces were written for beginner to intermediate level guitarists. Each piece explores specific pedagogical and musical goals. Strong melodic material paired with an accessible harmonic language make learning these pieces an enjoyable experience. (CD included) " ... these five brief studies are imaginative in their construction and are a most welcome addition to the intermediate student repertoire. Each one has a specific didactic purpose in mind and all are quite attractive on the ear. " Steve Marsh - Classical Guitar, April 2007

Rythmiques Audio	Rhytmiques See Sample Pages Published By: Doberman-Yppan	This one movement guitar quartet is extremely rhythmic, it utilizes mixed-meters and minimalistic compositional techniques.