Biography

Louis CHIAPPETTA

His works have been performed across the United States and abroad in venues including the Helsinki Music Centre, London’s Wigmore Hall, New York’s Carnegie Hall… Ensembles that have performed his music include the Helsinki Philharmonic, American Composers Orchestra, Britten-Pears Contemporary Ensemble...

Adrift, is his first work for orchestra (see detail note).

More recently Chiappetta completed Circle Limit, for solo cello to Rainer Eudeikis from the Utah Symphony, and This is no less curious for piano.

To date his work has been recognized by ASCAP (2010 Morton Gould Young Composer Award), The American Academy of Arts and Letters (2011 Charles Ives Scholarship), and the Cleveland Institute of Music (2011 Donald Erb Prize). In 2012 he was also the recipient of a Fulbright grant awarded by the U.S. Department of State, and spent a year in London as a Fulbright postgraduate scholar at the Guildhall School of Music and Drama.

Chiappetta holds degrees from the Cleveland Institute of Music, Guildhall School of Music and Drama, and Cornell University. His principal instructors have been Julian Anderson, Steven Stucky and Keith Fitch. He has also taken part in workshops and courses mentored by Kaija Saariaho, Oliver Knussen, Michael Gandolfi and Derek Bermel amongst others. In March 2012 he participated in Carnegie Hall’s Weill Music Institute professional training workshop lead by Kaija Saariaho and the cellist Anssi Karttunen which included the premiere of his string trio Loops, Clocks, and Shadows at Zankel Hall. In 2016 Chiappetta was the recipient of the Patricia Plum Wylde composition fellowship at the Tanglewood Music Center.

Work(s)

" Adrift "

For orchestra

Chester Music

SÉLECTION 2017

The restless and fluid nature of the music in Adrift tends to keep any real sense of stability out of reach. From the start, this is a piece on the move: always unfolding with a sense of impending arrival. Three distinct types of music emerge: an obsessive ostinato, a warped melody, and an interruptive flourish. Throughout the piece these figures reappear in shattered, stretched, and distilled forms, often layered over each other in varied configurations.

Although Adrift is in one continuous movement, the piece really has two parts. The first part, which is slightly longer, ends with an impassioned melodic statement in the strings that unravels and leads to the only true moment of stasis in the entire piece. The remainder of the work is a compressed misremembering of the previous music, which reorders and distorts gestures from the first part.

Adrift was commissioned with funds from the Saariaho 60th Birthday Fund administered by Chester Music, in celebration of Kaija Saariaho’s 6oth birthday. I dedicate the piece to Kaija, with admiration and gratitude.