Stone Ramirez

Icarus (2024)- Stone Ramirez (b.2000).

Program Notes

Icarus (2024)- Stone Ramirez (b.2000).

This piece for a string quartet tells the story of the legendary myth of Icarus from ancient Greece.

The hero who was able to fly among angels, but lacked caution and caused his own failure.1

This is the first piece written by this composer for strings, and it demonstrates the thoughtful

voicings of each instrument. Originally without a title, Stone did not set out to capture this story.

Comparable to the naming of a child after seeing what they have become in adulthood, the name

for this piece grew out of an undeniable similarity to the fall of Icarus. Ancient Greek myths and

legends ais a common setting for Stone, as he has previously scored the play Antigone by

Sophocles and is more than familiar with the ancient characters.1

Beginning with a brief introductory section to set the mood of the piece, the composer wastes no

time with gentleness. Similar to the title character, the piece uses no caution and immediately

provides the listener with rich musical substance. By using non chord tones in the lower

instruments, the composer is able to create apprehension for the listener. Ascending scales are a

recurrence in this piece, and although they create the feeling of levitation, they are meant to

deceive and hide from the listener the descending chord sequence of the lower voices-

foreshadowing the eventual fall of Icarus. This piece modulates to the dominant of the original

1
Ramirez, Stone, 2023.
key, representing the breakthrough into the heavens. Creating a soundscape of paradise, the piece

eventually uses chromatic descending dissonance to show the iconic fall of Icarus.1

Suite in B (2023)- Stone Ramirez

This piece for solo flute is the first ever public performance of one of Stone’s pieces.1

This piece is compiled of three movements: the first “Allegro” movement, the second, slightly

slower “Andante” movement, and the third movement, signaled by the voice marking

“Cantabile.”1

The “Allegro” movement is a solid standalone work which effectively introduces the listener to

the distinct composing style of the composer. This movement is adorned with intricate dynamics

and articulations to perfectly communicate the intention of the composer. This piece introduces

the prevailing idea for all three movements- the delicate four-note ascending scale originating

from the tonic.1

The “Andante” movement follows common tradition of many suites, being slower in tempo than

both other movements surrounding it. Again, the four-note ascending scale can be heard in a

slight variation which provides the listener with new sonic information. This movement also

demonstrates more chromatic notes than the other movements, acting as a sort of development

section for the suite as a whole.1

recurring four-note melody with elaboration which follows. This movement of the suite offers a

bigger range than the other two pieces and requires slightly more technical skill from the

performer. The final note of this movement concludes the entire piece, providing a stable

foundation with which to leave the audience.1

Steel (2024)- Stone Ramirez

Named after the brother of this composer, this piece for solo piano is an homage to the idea of

modern heroes.1

Stone and his brother were inseparable throughout their childhood years, always best friends and

comrades through the war of life. Never in competition with one another, Stone and Steel

cheered each other on from their respective sidelines, even if not verbally. When going through

hard times they were always there for each other. Since writing music is a way for Stone to

express emotions as an art form, it is only natural that a piece would eventually manifest

concerning the topic of brotherhood.1

This piece begins with a storm of dissonance, setting the scene of chaos and abandonment. The

purpose of this is to create an atmosphere where a hero is needed- dramatizing his eventual

entrance. The rolling of the arpeggiated chords are the rolling gusts of wind of a rough

snowstorm. The main theme of the piece is repeated during this snowstorm in different variations

using a minor scale- this introduces the theme of the central character while not yet providing the

satisfaction of perfect comfort, leaving the listener yearning for escape from the storm. Seeking a
savior. When the main theme is finally introduced, there is no doubt that the hero has arrived.

Comparable to the sun rising on a new day after a tough battle, seeing land after months at sea,

the listener requires no effort to see their version of heroism when this theme is played. At the

end of the piece when the arpeggiated chords return, and the storm continues to rage, there is less

dissonance. The listener is still in the storm, but they know everything will be okay because they

are not alone.1

Tout gai (1904)- Maurice Ravel (1875-1937).

This piece is one of Ravel’s art songs for voice and piano which was adapted from a traditional

Greek folk song.

Maurice Ravel is a French composer during the romantic period of music. Studying in the Paris

Conservatoire, Ravel showed promising talent at an early point in his career.2 This particular

piece showcases the composer’s unique harmonization style and chord usage.

This piece is more harmonically simple than many of Ravel’s other pieces, stemming from the

fact that it is derived from a traditional folk song.3 A fairly short piece, Tout gai is a dance tune

with a jolly feeling about it. The playful jumpy accompaniment fills the listener with excitement,

stirring the desire to dance. Repeating the words “all merry,” Tout gai overflows with joy.

2
Myers, R. H.. "Maurice Ravel." Encyclopedia Britannica, July 19, 2023.
https://www.britannica.com/biography/Maurice-Ravel.
3
Walters, Richard. The Art Song Anthology. (Hal Leonard, 2009) 109.
Violin Partita No. 3 In E Major, BVW 1006: I. Preludio (17204)- Johann Sebastian Bach (1685-

1750)

Johann Sebastian Bach is the most influential composer of the baroque musical era. This violin

partita demonstrated his extraordinary talent for writing music, and clearly shows how a piece

can be witty, as well as beautiful.

This partita for solo violin holds a steadily fast tempo, and the violin generously plays chord

after chord in an arpeggiated style, giving structure to the piece without need for accompanying

instruments. Since this work was written so long ago, much of the articulations and specific

voicings are highly debated.5 Although this piece does not have much dissonance, it is in no way

tiring or dull to the ear. The violin takes the listener on a sonic journey and presents the

virtuosity of the instrument in a majestic way.

4
“6 Violin Sonatas and Partitas, BWV 1001-1006 (Bach, Johann Sebastian)”, IMSLP, accessed
November 11, 2023, https://imslp.org/wiki/6_Violin_Sonatas_and_Partitas,_BWV_1001-
1006_(Bach,_Johann_Sebastian).
5
Lester, Joel. 2019. “Problems in the "Neue Bach Ausgabe" of the ‘E Major Partita for Violin
Alone’”. Current Musicology, no. 13 (December):64-67. https://doi.org/10.7916/cm.v0i13.4257.
 Works Cited

Myers, R. H.. "Maurice Ravel." Encyclopedia Britannica, July 19, 2023.

https://www.britannica.com/biography/Maurice-Ravel.

Lester, Joel. 2019. “Problems in the "Neue Bach Ausgabe" of the ‘E Major Partita for Violin

Alone’”. Current Musicology, no. 13 (December):64-67.

https://doi.org/10.7916/cm.v0i13.4257.

Ramirez, Stone, 2023.

Walters, Richard. The Art Song Anthology. (Hal Leonard, 2009) 109.

“6 Violin Sonatas and Partitas, BWV 1001-1006 (Bach, Johann Sebastian)”, IMSLP, accessed

November 11, 2023, https://imslp.org/wiki/6_Violin_Sonatas_and_Partitas,_BWV_1001-

1006_(Bach,_Johann_Sebastian).