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Abraham Fabella
  • Male
  • Los Angeles, CA
  • United States
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Currently, I'm a PhD student at the University of California, Los Angeles. Previously I earned an MM in Music Composition at the San Francisco Conservatory of Music studying with Conrad Susa and a MA in Music from the University of California, Riverside where I studied with Byron Adams. I'm also a pianist, organist and conductor.
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http://www.abrahamfabella.com

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At 8:58pm on September 26, 2008, rogerallenward said…
Nice piece!
At 2:11pm on September 13, 2008, Elliot Cole said…
Chansons avant la tombee -- terrific idea to modulate style on such a clear continuum! So much polystylism embraces the collage logic, as if styles were only bits of kitsch to quote rather than formal paradigms to navigate. My 'Endgame Study' is part of that conversation, maybe it would interest you. Great work and be in touch!
At 11:19am on September 12, 2008, al margolis said…
many thanks Abraham

will be listening to your sounds too

best

al

About the selections

Chansons avant la tombee de la nuit for mezzo-soprano and piano (2005)

1. Croquis parisien
2. Marine
3. Soleils couchants
4. Chanson d'automne
5. L'Heure de berger

"Songs Before Nightfall" is a cycle of five poems by Paul Verlaine set to music. The songs are a series of different moods and scenes which might accompany the time before dusk. The cycle proceeds in tone from objectivism to romanticism.

Child's Play for large orchestra. 3,3,3,3/4,3,3,1/perc(3)/hp/pno(cel)/strings (2005)

This piece is in two movements. The first movement "Daydream" is my attempt at capturing the fleeting thoughts and fancies of a young child. The second movement "Tag" is a physical and frolicking romp for the orchestra.

Preludes: Book I for solo piano. (2004-2005)

The first prelude is entitled "...past the blackset noctilucent clouds..." which comes from a line of poetry in A.R. Ammon's poem "Hymn." The poem describes one's search for God, beyond the trees, the mountains, eventually reaching into "the undifferentiated, empty stark." The second prelude is entitled "The Avenue of the Fleas," a slinky number named after the street of the place where I first sketched the piece. The third prelude, entitled "Loki, the Trickster," is my attempt to imitate the sounds a mischievous young child would produce at the piano.
 
 

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