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Efraín Amaya

“I think that this project is a great opportunity for all involved to get to know new and current works from contemporary composers. Musicians are once again the champions of living composers… This movement towards programing and sponsoring the commissioning of new works is vital for the survival of concert music.”

Biography

American conductor and composer Efraín Amaya was born in Venezuela, where he began his musical training. Continuing his studies in the United States, he earned two Bachelor’s of music degrees in composition and piano from Indiana University, and a Master’s degree in orchestral conducting from Rice University.

Mr. Amaya's compositions have been selected for performance at major international festivals, including the Bergamo International Festival of 2011 at Bergamo, Italy with his two act opera La Bisbetica; the Seattle Symphony's Viva la Música Festival; the V Congreso Iberoamericano de Llíria, Spain, the Festival de Música de Santa Catarina in Brazil, the American Composers Orchestra Festival of Venezuelan Music at Weill Recital Hall in New York; the II Congreso Puertorriqueño de Creación Musical in San Juan among many others.

Latest CD releases include The Jano Duo with his piece “Pres-ent” for flute and cello in their CD “Dreaming in Color” released in August of 2017, with Albany Records label, and virtuoso flutist Alexa Still CD released of an all Amaya flute music CD called “Syzygy” in January 2018 with the Oberlin Music Record label.

Mr. Amaya is in the faculty at Minot State University as well as Western Plains Opera General Co-Director (2017-present) and the Music Director for the Minot Symphony Orchestra since the 2015-16 Season.

Carousel

Efraín Amaya’s piece Carousel was composed for eight cellos. The inspiration behind his new work was a cello duo that he composed for Labco Dance Company for their choreographed piece named Soul Carrier. It also pulls from his children's opera "Phantasmagorilla? No! Phantasmagoria". Mr. Amaya believes initiatives like the YOCI of programming and sponsoring the commissioning of new works is vital for the survival of concert music.

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Tatev Amiryan