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Aleks Savitski is a composer and pianist based in  Houston, Texas. His work has been performed by many prominent musicians and ensembles, including Accessible Contemporary Music Ensemble, Speculum Musicae, Vicennium Void, Fresh Squeezed Opera Company and Shepherd School Chamber Orchestra, as well as performers of Metropolitan Opera, Bronx Opera, Kaia String Quartet, Meadowlark String Trio and Origin of Animal New Music Ensemble. Fascinated by interdisciplinary work, Savitski's most recent works explore some innovative takes on musical narrative. Born in Ukraine into a family of musicians, Savitski began piano lessons at the age of five. The Savitski family moved to Poland in the late 90s. Soon after settling into Warsaw, he continued piano studies with Irina Rumiantseva, a Russian pianist and pedagogue, and composition lessons with Barbara Niewiadomska. Both mentors had a lasting impact on Savitski’s music and encouraged him to strive for the highest artistic quality in composition and piano. During his undergraduate studies at Roosevelt University, Savitski had the opportunity to work with remarkable composers, including Stacy Garrop, Kyong Mee Choi, Marta Ptaszynska and Daron Hagen. While in Chicago, Savitski performed at Chicago's major music venues, such as House of Blues of Chicago, Pritzker Pavilion, Grant Park, Chicago Botanical Gardes, Strawdog Theater, Morse Theater, Ganz Hall, Auditorium Building, Ukrainian Cultural Center and the Polish Christian Center. Additionally, Savitski was the lead pianist for “Alma de Tango” and “Tangata”, both Argentinian tango ensembles. Savitski earned a Master's in Music in 2010 and is currently completing his Doctorate in composition at Rice University. During his time at Rice, Savitski has worked with Karim Al-Zand, Pierre Jalbert, Arthur Gottschalk, Kurt Stallmann, Richard Lavenda and Shih-Hui Chen.

Compositions

Musical Moments (2012) - for chamber orchestra



The inspiration for this piece came largely from my encounters with Miles Davis’s composition “Flamenco Sketches” from his album “Kind of Blue”. Davis’s “Flamenco Sketches” incorporate elements of flamenco style in many subtle and covert ways. From the very beginning my intention was to follow Davis’s example and to write a piece that would have a highly dramatic emotional content with subtle influences drawn from flamenco music. The most prominent element of flamenco in Musical Moments is a progression of chords that loosely hints at Phrygian mode and a heavy emphasis on half-step relationships between harmonies. “Musical Moments” presents four different moods: calm, but anxious, joyous and assertive, indecisive and contemplative, restless and explosive. Each of these moods characterizes a separate section of the piece which when combined shape a single movement work.