Diego Davidenko was born in Buenos Aires, Argentina, in 1979. He earned a bachelor of music degree
in composition from SUNY Fredonia, where he studied composition
with of Dr. Donald Bohlen. At Fredonia, he was a member of and
served as vice-president for the Ethos New Music Society.
He is currently working toward a master's degree at Syracuse University,
studying with Dr. Andrew Waggoner and
Dr. Daniel S. Godfrey. In addition to his studies there, he teaches sight singing and ear training
as an adjunct professor. He is chair of the Meet the Composer program for the
Society for New Music, which has premiered three of his works.
He has written works for a variety of media such as works for chamber ensembles and for choir, art songs,
film scores, solo instrumental works, and electronic music.
EDUCATION: Syracuse University, Syracuse, NY
•Enrolled toward Master of Music Composition . . . . . . . . Fall 2005-Present SUNY Fredonia, Fredonia, NY
•Bachelor of Music - Composition, Magna Cum Laude . . . May 2003 Rochester Institute of Technology (RIT), Rochester, NY
•58 credits towards BS in Computer Science . . . . . . . . . . 1997-1999
SELECTED
COMPOSITIONS: Dialogue,
Voice, Flute, Clarinet, Cello, text by Kazuaki Tanahashi . . . Sept 2005
•Written for A Brush with Our Time, a benefit concert concluding a week-long
event co-sponsored by the Zen Center of Syracuse, Syracuse University, Cultural
Resources Council, Syracuse Peace Council, Peace Action of CNY, and the
Society for New Music. The event honored artist and poet Kazuaki Tanahashi.
Dark-Moon Night, Piano . . . . . . . . . Summer 2007
•Written by request for the Rising Stars concert, part of the Society for New
Music’s 25th Annual Cazenovia Counterpoint music series, for performance
by Pianist Emily Marshall.
Esas Quejas del Piano..., SAB Chorus and Piano . . . . Nov 2002
•Written for the Ripley High School Chorus, under the direction of Kathleen
Bohlen, through the Ethos New Music Society’s outreach program. The text
for the piece is from Rimas y Legendas, by Gustavo Becquer.
MUSICAL
ORGANIZATIONS: Society For New Music(founded 1971)
•Education Coordinator . . Summer 2008 - Present
•Chair of Meet the Composer. . Fall 2006 - Present
•Board Member . . . . . . . . Aug 2005 - Present
The Society promotes new music in the community by commissioning new
works, presenting an average of 30 yearly concerts of new music, and providing
several other services including a newsletter, Society News; a weekly radio
new music program, Fresh-Ink; community outreach programs; and the yearly
Brian M. Israel Prize for composers 30 years of age or younger. The Society
for New Music is the only year-round new music organization in upstate
New York, and the oldest in New York State outside Manhattan.
Ethos New Music Society (founded 1977)
•Vice-President . . . . . . Fall 2000 - Spr 2001
•Member . . . . . . . . . . . . . . Spr 1999 - Spr 2003
Ethos is a Student Association sponsored group committed to the promotion of
20th and 21st century music. As Vice President, I contributed to the production
of four concerts consisting of student works. Also, I participated in the
planning of symposiums featuring visiting composers Dana Wilson, and Leslie Bassett.
WORK
EXPERIENCE: Syracuse University Spring 2007 - Present
• Adjunct professor for sight-singing and ear-training classes.
Liberty Partnerships ProgramFall 2005 - Present
• At Nottingham High School in Syracuse, NY, provided supplemental instruction in
all high school subjects to students with a high risk of dropping out.
Teacher Mark's ESL School 2003 - 2004
• Taught classes in grammar, reading, writing, vocabulary, and spoken English
to English-speaking and non English-speaking students
American Music Center in New York City Summer 2001
• Registered and categorized musical scores to facilitate transfer
of AMC’s score collection to the New York City Public Library
Ramsey Electronics Winter - Fall 2000
• Translated company's web-page from English to Spanish to accommodate
increasing number customers who spoke only Spanish
Camp Lohikan, Lake Como, Pennsylvania Summer 2000
• Instructor of general music, guitar, and saxophone for children ages 8-14.
SUNY Health Science Center, Syracuse, NY Summer 1998, 1999
• Computer Programmer and Laboratory Assistant
• Using the C-programming language designed software to graphically display
statistical information;
• Improved network design, built department’s web-site. SKILLS Musical Instruments:
This one
movement string quartet has unsettled tone. Beginning with a complex argument between a repeating melody and unreleased tension, it proceeds to long, slow phrases that struggle to find a comfortable place to rest. Held together by consistent rhythmic shapes and harmonic grammar, the quartet explores a wide range of moods.
Dame Descanso (5 min.)
2002
Violin - Tucker Callander, Andrew Waggoner; Soprano - Alyssa Bell; Tenor - Nilo Alcala II
Dame descanso, que me arde la luz del alba.
No estoy lista para el día.
Dame descanso mientras espero la noche.
Translation
Give me rest, for the light of dawn stings me.
I am not ready for the day.
Give me rest as I wait for night.
Words by Diego Davidenko
On Untitled Green Painting #3 (3 min.)
2001
Violonello -- Patrick O'Donnell
This is the third of three pieces based on a study of a painting by Douglas Czuszak.
The composer attemped to recreate the mood set by the painting1s use of
open space and its minimal amount of material.
On Untitled Green Painting #2 (3 min.)
2001
Electronic Media
The second of three pieces based on a painting by Douglas Czuszak, this one is for electronic media.
Underneath its strict linear qualities, the painting has a sense fluidity,
layering, and depth which made me feel as if it depicted an underwater
scene viewed from above in which the crisscrossed lines are blurred and filtered by the water.
The music reflects these qualities by presenting very straight linear mateial
(the first half of the piece uses only two pitch classes)
but fluctuating the envelope of the instrumentation that is applied to the lines;
sounds with sharp attacks appear to break through the muffled timbre of the rounder sounds.
On Untitled Green Painting #1 (2 min.)
2001
Piano -- Mark Leonard; French Horn -- Jim Baynes
The first of three pieces based on a painting by Douglas Czuszak, this piece is for french horn and piano.
By using unrelenting imitation, usually at either unison and semitone intervals between the voices, this
short piece reflects the tight and limited material used in the painting, while
allowing a diverse range of emotions. Like the other two pieces of the set, this one follows a 3
part structure with slow, dissonant, and sparse; quick and violent; and slow and dramatic sections.
Dark-Moon Night (6 min.)
2007
Piano - Emily Marshall
This piece, written for a premier by Emily Marshall, is dedicated to my friend Douglas Czuszak. Dark moon is the period when the moon appears so close to the sun that it cannot be seen even near sunset or sunrise. During dark-moon nights the moon, which normally takes the spotlight in the night sky, is missed. In its absence, the remainder of the night sky -- planets and stars and other celestial bodies -- are allowed to play the main role. "Dark-Moon Night" is a piece where the bright attention-grabbing character of music is moved aside to allow a quieter and more pensive mood to appear.
After the Brief Glance... (6 min.)
2007
Soprano - Bridget Moriarty; Flute - Steff Rainess; Clarinet - Stephen Chubas; Violin - Stephanie Koppeis; Cello - Rosie Rion; Piano - Charlie Magnone
After the brief glance, a slight smile. Look away!
If you're walking, keep going, but don't let him know.
Interested and adorable,
but slightly distracted and mysterious.
You are NOT a desperate girl.
Text from 'Flirting 101', by Taylor Engler (Daily Orange, March 1-7, 2007, pg. 11)
Principalia Amore (6 min.)
2007
Soprano - Bridget Moriarty; Flute - Steff Rainess; Clarinet - Stephen Chubas; Violin - Stephanie Koppeis; Cello - Rosie Rion; Piano - Charlie Magnone
Avaritiam sicut nocivam pestem effugias et eius contrarium amplectaris.
Castitatem servare debes amanti.
Eius non cures amorem eligere, cum qua naturalis nuptias contrahere prohibet tibi pudor.
Dominarum praeceptis in omnibus obediens semper studeas amoris aggregari militiae.
In amoris exercendo solatia voluntatem non excedas amantis.
Sunt et alia amoris praecepta minora, quorum tibi non expediret auditus,
quae etiam in libro ad Gualterium scripto reperies.
Text from the '12 Rules of Love' from 'De Amore' (c. 1186 - 1190) by Andreas Capellanus
Translation:
Avoid avarice like a deadly plague and embrace its opposite.
Keep yourself chaste for sake of your lover.
Do not choose for your love anyone whom a natural sense of shame forbids you to marry.
Be obedient to your woman in everything and strive to ally yourself to the service of Love.
In practicing the solaces of love, do not exceed the desires of your lover.
There are other rules of love which I will not express to you,
which may be found in the book by Gualterium.
For All the Right Reasons(6 min.)
2007
Soprano - Bridget Moriarty; Flute - Steff Rainess; Clarinet - Stephen Chubas; Violin - Stephanie Koppeis; Cello - Rosie Rion; Piano - Charlie Magnone
It is possible to find your soul mate;
the joy of falling in love with someone who sees you, loves you, and accepts you.
Exhaustive research has found twenty-nine key dimensions of compatibility.
Our couples are falling in love for all the right reasons.
We use a scientific approach.
Our couples get married every single day.
Patented Compatibility Matching System T.M.
Find your true love!
Text from an popular internet dating service website
you don't know what it's like to be me
thinking you've got some other boyfriend
your life is a game, and mine is a pit stop you had to make
and now you're on your way
you don't know what it's like to hear you
sounding like everything's just fine, oh
you threw me away, you said you had nothing left to say
and now i'm on my own
every night as i dream about you
you tell me you can't live without me
but then i awake, i know that to dream was a mistake
and you've gone on your way
and i remember when i was with you
we played games underneath your bed sheets
now everything's changed, you've left me to play in my own waste
and you've gone on your way
mittens
We should buy a pair of mittens
so absurdly oversized,
we can fill the space inside them
with your hands as well as mine.
We should buy each other gifts
and return them at the store.
With the money we get back,
we should buy each other more.
We should do everything that we can
lest we waste all this time
that we're young and sexy (and sexy)
Wearing underwear and hats
we should run through people's yards.
We could walk into their houses
and then ask them where we are.
I could tell you funny stories,
you could sing me pretty songs.
I'll pretend that I enjoy them,
you pretend you're having fun.
We should do everything...
So then, when we're old
when the weather's gone cold,
we'll look back and recall
(if we remember at all)
all the fun that we had
and we won't wish we hadn't grown up
We should say that you're my sister
even though we know you're not,
so we freak out everybody
when they catch us making out.
We should do everything...
not quite right
everything is fine
makes me wish i'm going blind
i hate living here where the sun shines
dirty thoughts are clean
and the girls are seventeen
and objects in my jeans are a bit obscene
i know it's not quite right
i'm going crazy...
everbody's near
and there's a wild pack of deer
and i tend to forget why i came here
and everyone is nice
and they believe in jesus christ
and everyone i see gives me their advice
i know it's not quite right
i'm going crazy...
like a girl
just like a girl i'm crying
i think the world is trying to push me away
and it's not a funny feeling
it's what i get from dealing with people like you
it's easy to see that you're no good for me
but when i hear the phone ring, i'm hoping it's you...
if you're around this weekend
don't make a sound and we can pretend it's all right
'cuz i'm getting tired of thinking
and i think i'm better drinking you out of my life
it's easy to see...
'cuz you know i miss the good times
and i'd rather kiss you could you come over tonight
and though i thought i'd make it longer
i guess that i'm not stronger than anyone else
it's easy to see...
and that's why i'm always crying
just like a girl, i'm crying
just like a girl,
you're trying to push me away
jesus and moses
i saw your face
following traces of colors and light
i felt your hand
sinking in quicksand and then you took flight
you landed in a bed of roses
you felt like jesus and moses
you fell asleep
dreaming so deeply you did not know where you were
but then you found out
without a doubt, absolutely, yes, you were sure
you'd landed in a bed of roses
you felt like jesus and moses
jesus and moses
forgotten about
i am not one of
those you shouldn't've gotten too close to.
i am one to whom
you can whisper to get my attention.
i don't remember much, but i remember talking to you.
i don't remember what you said, but i remember your voice.
you told me a secret
i couldn't hear, you said it again.
you pulled me aside,
pulled me past the sidewalk into the street.
i don't remember where we went, but i remember the walk.
i don't remember what you wore, but i remember your style.
you tore off my shirt,
threw it in the dirt, I took off your shoes.
you made me sit down
and I made you a crown out of your necklace.
i don't remember what we did but, i remember your laugh.
i don't remember when you left but, i can still feel your warmth.
If you were just a dream,
a woman made of steam, why is it so sad
that i'll never see you
and soon you'll be forgotten about?
in my head
you,
i can't hear you
when you sing
music in my head
dont play games
when you don't call me back
it's like you steal my dream
i'd call you, but you're not home
or so it seems
if you won't come to me
and you don't want me to go
tell me what to do
'cuz i love you so
but don't play games with my mind
i wouldn't mind if you would tell me how you feel
i can't take this bullshit anymore
when you gave me your love
and i sprinkled you with bliss
you said "baby, give me one more kiss"
but then you went away
and i can't have you anymore
i just wish things could be like before
Music for this clip was composed using Digital Performer 3.0 software and a Roland XP-30 synthesizer. The composer scored the film as if it were a serious and dramatic work rather than a comedic one in order to exaggerate the absurdity and to explore a wider scope of
moods and emotions. The original soundtrack to the movie was composed by Mundell Lowe.
Liam
This short film was written, directed, and filmed by Eytan Ipeker. The composer worked closely with the director, and the music was composed with the aim of creating the mood and density of sound specified by the director.
Ipeker has now returned to his home country of Turkey, where he is pursing a career in film.
in my head
The music for this clip was composed using Pro Tools recording software.
It is comprised of the composer's voice modified with various
digital effects as well as a reversed guitar line, an electric doorbell,
and breaking glass. The film, directed by Alfred Hitchcock in 1960, was
originally scored by Bernard Herrmann.
