INNOVA
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John Fitz Rogers Once Removed
New Classical,    Innova 707    CD   15

Music that lingers... See One Sheet
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Composers Performers Related Links
John Fitz Rogers Cameron Britt Liner Notes
  Joseph Eller John's home
  Lynn Kompass Sample and buy from iTunes
  Marina Lomazov  
  Opus Two  
  Robert Jesselson  
  Scott Herring  
  William Terwilliger  

Track Listing Header
Title Composer(s) Performer(s) Length
Blue River Variations John Fitz Rogers
Marina Lomazov
16:05
Sonata Lunaris John Fitz Rogers
Opus Two
16:25
Once Removed John Fitz Rogers
Cameron Britt
Scott Herring
8:54
Memoria Domi John Fitz Rogers
Joseph Eller
Robert Jesselson
William Terwilliger
Lynn Kompass
24:26
One Sheet Text

"My music isn't about assault; I'd like to think it's about seduction. I think mystery lies in furtive turns, in the nooks and crannies, in things that are sometimes distant or 'once removed.' I like music that can feel hopeful yet sad, exuberant though slightly crazed. I want my music to feel natural yet pensive or even slightly uneasy. I like music that lingers." - John Fitz Rogers

If you are up on the last few hundred years of western classical composition you may be seduced into thinking the music of John Fitz Rogers all sounds somehow familiar. Your satisfaction at influence-spotting this eloquently crafted chamber music wouldn't last long though. Just as soon as you flash on Keith Jarrett, Schubert, Messiaen, Britten, and Steve Reich, along comes Jelly Roll Morton. Soon you give up and let the lyrical freshness and sensuous phrasing carry you along with its own internal logic, purely John Fitz Rogers. He's a classicist with a romantic's heart.

Rogers is not your average rural Wisconsin-born, Northeast-educated (Cornell, Yale, Oberlin), South Carolina-dwelling composer. He grew up playing classical piano, at jazz gigs, in cover bands, and studying West African drumming and Renaissance choral music. The New York Times called his "approach to language...attractive for its omnivorousness; allusions to chant, and to Minimalism, sit beside dense counterpoint." But don't look for obvious pastiche or hybrids in his work: "I look at composing more like a writer might look at writing: I take anything from my experience or background and try to fuse it into a single, coherent voice."

"The things I value (that a writer might also share): simplicity and clarity; the unexpected but subtle shift; nuance; the graceful, expressive phrase; mystery; just the right proportion and balance. In the end, though, I believe the only thing that's important in any kind of music is whether it speaks to us emotionally."

Rogers founded the Chamber Music America/ASCAP Award winning Southern Exposure New Music Series and teaches at the University of South Carolina.

Reviews

American Record Guide

[N]ever ceases to be interesting . . . Absolutely beautiful . . . Rogers is one of the few composers who’ve risen beyond academia and found a unique voice. I’d be very interested in seeing how his minimalist-polystylism might work in a longer orchestral piece. Concerto for Orchestra anyone?
by Paul Cook

Freetimes

[his] wide sonic palette leads to gorgeous, nuanced pieces with lots of room for interpretation.
by Patrick Wall



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