Louie Madrid Calleja, BFA (York), MA (York)
Composer, Conductor, Scholar

Home
Biography
Curriculum Vitae
My Music (Audio)
Videos
My Poetry
Testimonials
Photo Album
Contact
Notable links

Videos: Compositions

The Passing of October, Op. 89 by Louie Madrid Calleja 

Part of the nature of change is its ability to alter perception over time. This becomes evident when special moments occurring at specific times in our life fade into memory. The title points to one that occurred on a rainy October night in 2011.

The piece falls in two sections:

I. "Elegy" - Adagio melancolico molto tenuto (0:07)
II. Allegro furioso molto appassionato (3:46)

Performed by the Paskke String Quartet at Mary Lake Shrine (King City, Ontario. CANADA). 5 October 2015.

Kevin Leung, violin 1
Simon Lau, violin 2
Sarah Torrance, viola
Paul Hudspith, violoncello

Inspired by T.J.B. and dedicated to the AIRIS String Quartet (Poland). This piece is unpublished.

=====

Soliloquy, Op. 40a by Louie Madrid Calleja (Louie Madrid Calleja, conductor)

The piece was a going-away present for a close friend and her family. Composed in 1994 and revised early 2014, it is arch form in structure and unified by a short motif in the tuba and a flowing 8-measure melody.

Performed at the Newmarket Theatre by the massed band of the Canadian Band Association (Ontario Chapter) on October 5, 2014 hosted by the Newmarket Citizen's Band.

This piece is unpublished.

=====

Where the Dragonflies Swoon, Op. 92 by Louie Madrid Calleja (Louie Madrid Calleja, conductor).

Commissioned by Mr. Ulrich Kretschmar and the Orillia Wind Ensemble.

 

It is based on a poem I composed in the Spring of 2012 entitled “The Invitation.

 

(To T.J.B.)

Look with me to the sunrise

As we hold hands

Feeling the breeze blow

And the cool stream flow

Beneath our feet.

 

Let us go, you and I,

Into green valleys,

Where the dragonflies swoon

By the sleeping moon,

Dreaming of the future,

Forgetting the past,

Trickling into droplets

Like falling sand in an hourglass.

 

Let us seek shelter

In stormy weather;

Let us laugh, let us love,

Let us think of Time -

Of the moments we have,

And the moments we’ve had -

Looking at each other

And wondering:

"How do you know when forever arrives?"

 

Look with me to the sunrise

And come with me on this journey.

Let us call on friends

And laugh until our tears flow,

Feeling the breeze blow

In Nature's warm glow,

Until we wearily venture

Into the kingdom

Of peaceful Sleep.

 

 

Although not a literal setting of the poem, it seeks to capture certain images and explore some of the symbolism in the text. Among them are:

 

1. Church bells – these have always been represented throughout history as the markers of time. They also herald celebration and mourning.

 

2. Dragonfly – a symbol of renewal, of constant change. The gracefulness and speed of this creature is represented by the florid passages in the solo flute.

 

3. Death, resurrection, and the voice of God – these are commonly represented by the trombones in Lutheran literature. The trombones set the harmonic foundation at key moments in the piece, giving the unstable modulations stability, dignity, solemnity, and nobility.

 

4. The awareness of life (“journey”) and death (“Sleep”).

 

Performed by Erika Broughton (solo flute) and the Orillia Wind Ensemble (St. Paul's United Church. Orillia, Ontario. June 1, 2013).

 

This piece is unpublished

 

=====

Gethsemane, Op. 85 by Louie Madrid Calleja (Louie Madrid Calleja, conductor)

This piece is dedicated to Zosimo Coralde Calleja, Sr.  - patriarch, farmer, schoolmaster, respected politician, and my grandfather - who passed away in May 30, 2006. He was a man who led by example and little words; a man who dedicated his life to his family, his community, his Roman Catholicism, and the guiding principle that life must be lived with dignity and honour regardless of the trials and tribulations one might encounter - a universal right that not even God or death can take away.

I found it fitting to honour his memory by reflecting on the events that took place in the garden of Gethsemane the night before Christ's crucifixion - a man who witnessed his own death and yet able to rise above the fear to embrace what must happen with dignity and courage.

The piece is a through-composed tone-poem. The solo trumpet functions as commentator, narrator, and participant throughout the piece.

Performed by Suraj Rajkumar and the Band and Bugles of the Queen's Own Rifles of Canada (Cody Hall, Toronto. May 4, 2013).

This piece is unpublished.

=====

Passacaglia, Op. 72 by Louie Madrid Calleja (Louie Madrid Calleja, conductor)
 
(Dedicated to C.A.C.)
To the one I loved,
To the one I lost,
To the memory of the person
   that she once was.
 
Music is what emotions sound like, and this piece is an exploration of grief associated with separation - of the emotion, of the tension, of acceptance.
 
It is a polyphonic work unified by a 5-bar melody (first stated in the tubas) that serves as a "cantus firmus." Written in 2001 and premiered in 2002,  it is the first piece dedicated to the "Eternal Feminine" - a piece that sparked other pieces under the same dedication.
 
This performance is by the Festival Wind Orchestra at the Betty Oliphant Theatre in Toronto conducted by the composer (15 December 2012).
 
This piece is unpublished.
 
=====
 

From An Observation of the Coin, Op. 67 by Louie Madrid Calleja (Louie Madrid Calleja, conductor)

A piece used as one of the example found in the Masters' Thesis, "Approaches to Counterpoint" (2001) and inspired by Schopenhauer's "Die Welt als Wille und Vorstellung." It is a Prelude and Fugue for wind symphony and a commentary on the two sides of the human condition - the cerebral and the physical.

The Prelude (
0:11 to 3:12) is a "Klangfarbenmelodie" (tone-colour melody) in cyclic form constructed from a progression of pitch-sets that are orchestrated in unorthodox ways. It represents the cerebral side of the human condition.

The Fugue (
3:13 to 5:34) is constructed from two themes in the Aeolian mode. It begins as a traditional fugue that spirals into "decay" and "chaos" towards the end, the themes (or "seeds") of its construction becoming the source of its nihilistic demise. It represents the physical side of the human condition.

Performed by the York University Wind Symphony (a group consisting of music majors and non-music majors) at Dacary Hall in McLaughlin College conducted by the composer (Spring, 2000).

The piece is unpublished.

=====

Scherzo, Op. 83 by Louie Madrid Calleja (Stephen Chenette, conductor)

World premiere by the Northdale Concert Band on December 3, 2006 with commentary by Professor Emeritus (University of Toronto) Stephen Chenette. St. Jude's Anglican Church, Scarborough.

This piece is unpublished.

Transcript of Speech

"...first performances of new music, always an exciting time! The Scherzo that Louie wrote is dedicated to the Eternal Feminine. It must've been a very strong 'feminine' because this piece is about five minutes of non-stop energy and intensity, and I predict that it's going to become a standard repertoire piece [for] bands that are good enough to play it..."

Professor Emeritus Stephen Chenette (University of Toronto)

=====

Scherzo, Op. 83 by Louie Madrid Calleja (Louie Madrid Calleja, conductor)
 
A performance by the composite band of the Canadian Band Association (Ontario) hosted by the Orillia Wind Ensemble at the Orillia Opera House. These individuals only received the music the day before and rehearsed twice.
 
=====

Message in Scarlet, Op. 80 by Louie Madrid Calleja (Louie Madrid Calleja, conductor)
 
Commissioned by the Hart House Symphonic Band (Keith Reid, music director).
 
A performance by the composite band of the Canadian Band Association (Ontario) hosted by the Silverthorn Symphonic Winds at the Richmond Hill Centre for the Performing Arts. As in previous band weekends, these individuals only received the music the day before and rehearsed twice.
 
It is introduced by Professor Emeritus (University of Toronto) Stephen Chenette.
 
=====

Videos: Concert Segments

"Music for a Darkened Theatre"
Northdale Concert Band
October 28, 2012
 

Highlights from "Exodus" (music by Ernest Gold; arr. Alfred Reed)

"Viktor's Tale" from the "The Terminal" (music by John Williams; arr. Caryn Rasmussen. Carol Anne Lynch, clarinet)

Colonel Bogey March (music by Keneth J. Alford)

"Somewhere Over the Rainbow" from "Wizard of Oz" (music by Harold Arlen; arr. Warren Baker. Cindy Golliger, alto saxophone)

Funeral March of a Marionette (music by Charles Gounod; arr. Harry Huffnagle)

=====

Canadian Band Association (Ontario) Weekend
Orillia Wind Ensemble (2011)

 Air for Band by Frank Erickson (Louie Madrid Calleja, conductor)
 
A performance by the composite band of the Canadian Band Association (Ontario) hosted by the Orillia Wind Ensemble at the Orillia Opera House for the annual CBA Band Weekend. It is a celebration of amateur music-making. These individuals only received the music the day before and rehearsed twice.
 
=====

Other Videos
 
My performance with tenor Christopher Dallo and the Coro San Marco.
From the concert Centenario Della Prima Chiessa Italiana a Toronto (October 2008) hosted by the Instituto Italiano di Cultura.
 

"Ombra mai fu"  from the opera "Serse" by Georg Friderich Handel (Louie Madrid Calleja, conductor)

"You Raise Me Up" by David Foster (Louie Madrid Calleja, conductor)

This site created and maintained by Louie M. Calleja
Last updated August 3, 2015