Layered multiple piano improvisation by JUNO Award-winning composer Jordan Nobles.
It was Wednesday evening. I had rented a beautiful Steinway and a quiet hall to record some melodic fragments for a composition I was working on. But I got distracted by the gorgeous sound of the Steinway while warming up and ended up playing all evening, just for fun. It was an exploration of pure expression, and, to be honest, procrastination. I gave in to my impulse to play and create spontaneously.
In the recording ‘fingerpainting’ there are multiple layered pianos. Often two, and sometimes three or four pianos playing at once. I created a few minutes of one layer, and then listened to it while playing another layer, and again, and on and on all evening.
Never did get to the work I was supposed to be doing.
1. Fingerpainting – 35:19
Composer and Pianist:
Jordan Nobles www.jordannobles.com
Fingerpainting is available from:
Recorded in Pyatt Hall, Vancouver, BC 2018
Composed by Jordan Nobles www.jordannobles.com
Cover Art by Dejan Radovanovic www.dejan-radovanovic.com
Video by Studio UMMAGUMMA www.vimeo.com/289338101
TK463 © 2018 Redshift Music October 15, 2018
Jordan Nobles – composer
JUNO award-winning composer Jordan Nobles is known for creating music filled with an “unearthly beauty” (Mondomagazine) that makes listeners want to “close (their) eyes and transcend into a cloud of music” (Discorder Magazine).
“Technically, there was no other word for it than that much overused modifier awesome.” Georgia Straight – Vancouver, BC
Jordan has won numerous awards for his work including a JUNO Award for ‘Classical Composition of the Year’, a Western Canadian Music Award, the International Composition Competition of the Unbound Flute Festival (Brisbane, Australia July 2016); the Sacra/Profana (San Diego 2013) , Vancouver Bach Choir (Vancouver 2008), and Polyphonos (Seattle 2011) International Composition Competitions. He placed 2nd in the International Soli fan tutti Kompositionswettbewerbs in Darmstadt, Germany and was a finalist in the C4 Choir Composition Competition in New York., as well as has been chosen to be performed in Wrocław, Poland at the International Society for Contemporary Music’s 2014 World Music Days.
“…breathtakingly beautiful sounds.” The Daily Gleaner – Fredericton, NB
In 2017, Jordan was the recipient of the Jan V. Matejcek Award from SOCAN “in recognition of his overall success in New Classical Music” and was honoured with the Barbara Pentland Award of Excellence for his “extraordinary contribution to Canadian Music”.
“…an experience of profound emotion.” Kitchener Waterloo Record – Kitchener, ON
Jordan was named the 2009 Emerging Artist in music from the City of Vancouver’s Mayor’s Arts Awards. His string orchestra work Aurora was the CBC’s official entry at the UNESCO International Music Council’s International Rostrum of Composers in Lisbon, Portugal.
“..the most devastating work I’ve heard in a long time. It comes at you in ripples of heart-breaking melancholy that you only gradually acknowledge as such—you find yourself sad, then sadder, than closer to tears, then struggling not to sob, and not really knowing why. I was crushed by it…” Definitely the Opera, Toronto, ON
He continues to receive many National and International performances and commissions. He is a member of the Canadian League of Composers and an Associate of the Canadian Music Centre.
“It was a huge success…The audience was in trance and we got a standing ovation in the middle of the concert!!!!” Michael Zaugg, conductor, Choeur Saint-Laurent, Montréal, QC
Recent projects included commissions for a spatial work for large wind symphony for Arizona State University, a work for soprano and chamber ensemble for the Royal Conservatory of Music in Toronto, a concert length spatial work for the Surrey Youth Symphony, and a new commission for the Standing Wave ensemble.
“And just such a unique experience was provided, with spectacular effect, by Vancouverite Jordan Nobles‘ A Sign in Space, which scattered the musicians to the far, jagged corners of the Crystal to surround us with music of unearthly beauty. Specially written for the day, Nobles’ piece was as perfectly at home in the ROM’s Crystal as Gabrieli in St. Mark’s Basilica. And the museum-goers were caught in their tracks as they drifted in from neighbouring rooms: spellbound, they stood and spun around slowly, trying to place the sources of the sound. How long was it, ten minutes? Thirty? Time was suspended; I could have sat for hours.” Mondomagazine, Toronto, ON