TIMOTHY C. TAKACH
UNFASHIONED
CREATURE
43’ ballet for SATB, cello, percussion
Unfashioned Creature takes inspiration from Mary Shelley’s timeless 1818 novel Frankenstein. Weaving together contemporary social themes: rejection, self-discovery, and love, both works forward a complex character who seeks to find belonging and equality.
OPERA: Computing Venus offers a glimpse into Maria Mitchell’s efforts to cultivate the next generation of female astronomers.
“Play” - Board game inspired music!
Written as a Valentine’s Day gift, these 3 piano solo were all inspired by hobby board games. Order physical or digital scores today!
Now available with projections!
Helios - SATB a cappella, 65’ duration
Helios - full score
Positioned at the nexus of science, faith and humanity, Helios follows a narrative of order and chaos, exploring that which is within our control, that which is not, and showing that we have the power to change our trajectory. The music provides a constantly changing landscape of textures, soundscapes, vocal techniques and harmonic language, and the libretto is a combination of published and commissioned poems from contemporary writers as well as translations of ancient texts. The theme of each planetary movement is inspired by the mythology or science of its namesake.
X. Venus (Everything Seems Possible)
VIII. Moon (Everything is Made of Light)
"Helios" by Timothy C. Takach. X. Venus (Everything Seems Possible); text by Julia Klatt Singer Soli: Paige Armstrong, soprano; Hannah Armstrong, soprano
Premiered on Nov. 8, 2014 by The St. Olaf Band, Dr. Timothy Mahr, conductor.
Recorded by Westmark Productions.
The Singing Statesmen Milwaukee Art Museum Fall 2014
FEATURED WORKS
The place and people we call home (5 mvts.)
SATB with flute & clarinet
An oratorio about relationships, co-written with Jocelyn Hagen.
SATB a cappella
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Commissioning
Ever wanted to help make something creative from the ground up, and watch the effect it has on others? Me too. It’s quite thrilling.
Part of the reason why I compose is to give musical (and emotional) experiences to others. Much of this is driven by what I want to say as a person and artist, but on a commissioned piece I work in collaboration to make a piece with and for somebody else. Composing can be a lonely career, but finding connection to other musicians through the commissioning process keeps me connected and inspired.
