Funded! This project was successfully funded on February 14, 2012.

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Help fund NYC based trumpeter and composer Andy Kozar's premier album 'On the end...'

This winter, I was fortunate to receive a grant from the Northern Manhattan Arts Alliance to record an album of my music.  This funding will cover the costs of recording, but I'm looking to raise additional funds to pay the fine musicians that will record my work in addition to help with additional costs including printing.  I'm thrilled to have the opportunity to record my music and I would love for you to be a part of this project!  Below, you'll find descriptions of the pieces I plan to record:

On The End and Being Forgotten (2011) for trumpet(s) and electric guitar:  ‘On The End and Being Forgotten’ is a multi-movement work for trumpet(s) and electric guitar.  Though I’m relatively young, my own mortality and legacy is something I regularly consider.  This piece is an exploration of these ideas, from the realities of physical death and decomposition, to the abstract concepts of legacy and the inevitability of one day being completely forgotten.  At first look, this can seem like quite dark subject matter, but I see it very differently.  It is a way to confront the mortality we all try so hard to ignore and a reminder of the fragility and temporary nature of existence, but more importantly, it is a call to urgency, a call to live knowing that one day, we will be no more. 

This piece will feature Belgian guitarist Kobe Van Cauwenberghe and myself on trumpet.

The Monte Vista School for the Invisible (2007) for trumpet, trombone, bass clarinet, and baritone voice:  This piece is part of a collection of pieces I wrote throughout 2007 and 2008 inspired by a line from James Joyce’s ‘Ulysses’, “I am the boy that can enjoy invisibility.”  This sentence struck me immediately, evoking a sense of innocence and imagination, and in many ways, reminding me of my own childhood.  ‘The Monte Vista School for the Invisible’ was composed as a sort of ‘music concrete’ piece, designed more to be heard as a recording rather than in live performance, using both the sounds of the instruments in addition to a collection of other sounds including tearing paper, spoken word, peeling velcro, etc.  I imagine a mid-20th century boarding school, where the listener is in a central location, surrounded on all four sides by sounds of young children reading and playing.  There are moments when all four parts play together, but for the majority of the piece, the children are alone, enjoying their invisibility. 

I plan to record this piece in four channels, carefully distancing the microphones and separately panning each part  to give the listener a sense of space.  When listening to the piece, I want the listener  to hear the individuality of each part.

This piece will feature the members of loadbang (Alejandro Acierto, bass clarinet; William Lang, trombone; Jeffrey Gavett, baritone voice; myself, trumpet).

Invisibility Interlude (2007) for piano and toy piano:  This piece is another in the series of pieces inspired by the words of James Joyce.  This short work for unison piano and toy piano is a reflection on the loneliness that childhood and invisibility can sometimes bring.  Though this piece can be performed on piano alone, the sound of the toy piano gives a sense of youth that, when juxtaposed with the sparse nature of the music, creates an affective sound world.

P’o (Kuei) &/or Hun (Shen) (2010) for solo trombone and ensemble: The Chinese Taoists, who were/are concerned a great deal with the survival of the soul after physical death, believe the soul is separated into two separate and conflicting parts, the Yin and the Yang souls.  The Yin soul is referred to as the P’o and the Yang soul as the Hun.  Throughout ones earthly life, each soul strives for predominance over the other.  At the moment of death, they separate and go in opposite directions.  The P’o (represented by the trombone) sinks to earth as a kuei (a ghostly being) while the Hun (represented by the rest of the ensemble) rises and becomes a shen (an ancestral spirit or god).

This piece exists in three separate editions, one for solo trombone, one for solo trombone and ensemble (trumpet, trombone, and baritone voice), and lastly for solo trombone and ensemble (string quartet).  For this project, I plan to record the version for trombone and string quartet, featuring trombone virtuoso William Lang.

Mass (2011) for trumpet, trombone, bass clarinet, and baritone voice: I grew up in a moderately Catholic household; church every Sunday, Catholic grade school, Catholic extended family.  Though it wasn’t everything, it certainly was a major aspect of my upbringing.  As a current atheist, I have had a difficult time coming to terms with these aspects of my childhood.  I no longer believe or practice the doctrine, but my ethics, worldview, and in many ways, my personality, are deeply tied to these roots. To disregard it would be to unwisely ignore a fundamental part of my existence.

The relationship between western music and the church is, in many ways, very similar to my own.  One does not need to be a practitioner of Christianity to have an understanding and appreciation of the influence of the church on western music, and to ignore or disregard it would be foolish. 

‘Mass’ is exactly what the title infers: music from the major parts of the Latin mass. Specifically (though it remains very similar from composer to composer throughout history), I used the form of 14th century composer Guillaume de Machaut’s ‘Missa de Nostre Dame’ as the basis for the overall form and proportions of my piece. Unlike the masses of the past, this piece is not written in praise or adoration of a deity, rather as an observation of the relationship between both western music, myself, and the church. Regardless of individual and current ideas regarding the church, both western music as a whole and I, personally, would be quite different without its influence.  

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    If you donate $20 or more, you will receive a complementary copy of the album for Christmas 2012!

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    If you donate $50 or more, in addition to a complementary copy for Christmas, your name will also be printed in the CD booklet!

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