12100 Highway 6 South, Apt. 7207
Sugar Land, TX 77478
JKNitsch@aol.com
Biography
Jason K. Nitsch, a native of Houston, Texas; He is a graduate of Baylor University where he earned a degree in music education featuring an emphasis in percussion. During his undergraduate studies, he was encouraged to explore his talents by numerous commissions from professors and colleagues. Conductors across the country are also enjoying Jason’s original and creative arrangements for band and wind ensemble. While at Baylor, Jason was a student of Michael Haithcock, Jeffrey Grogan, Jerry Luckhardt, and Dr. Larry Vanlandingham.
As a musician, Jason has performed as a member of many notable organizations, including: the Baylor Wind Ensemble, Symphonic Band, and Symphony Orchestra; the Baylor Concert Band (on clarinet); and the Troopers Drum and Bugle Corps.
Although he enjoys the creative outlet available to him through composition, Jason remains committed to his lifelong dream of teaching. He currently serves as an assistant band director at Deer Park High School southeast of Houston, TX. He has previously held similar positions a Dulles Middle School, and Lake Olympia Middle School in the Fort Bend Independent School District; Sugar Land, Texas. He recorded his first film score in the summer of 2000, Passing By; a film by David M. Chandler and G. Kent Rabalais. In 2002 he was awarded an ‘honorable mention’ in the Metropolitan Wind Symphony Commissioning Competition for “Pictures for the American People” a piece for wind ensemble based on the paintings of American artist Norman Rockwell.
Such notable groups and individuals as the Chicago Brass Choir, The Baylor University Symphonic Band, Dr. Kevin Chairizzio; professor of Trombone at Baylor, and many public school bands and orchestras have performed Jason’s music. His original works and arrangements have been performed at Baylor University, The University of Minnesota, Ole Miss University, Syracuse University, and Arizona State University. He is in constant demand as an arranger for band and his arrangements have been heard in states throughout the country including Texas, New York, New Mexico, Maryland, Ohio, Florida, Kentucky, Minnesota, and Canada. His music has been featured in concert at the Mid-West International Band and Orchestra Convention in Chicago, Illinois in 2002 and 2004.
Compositions
Chamber Works
September Sketches; No. 27 (2002) – for trombone and piano. Commissioned by Dr. Kevin Chairizzio, professor of trombone at Baylor University.
Departure; No. 22 (2001) – for solo trombone and CD. Commissioned by Kevin Chairizzio, professor of trombone at Baylor University.
This piece was premiered in the spring of 2002 at Baylor University, Ole’ Miss, and Arizona State University in a series of recitals by Mr. Chairizzio.
This piece has a haunting melody that searches the world for a relief from it’s apparent sorrow. A cadenza like middle section contains what can only be a love song, a remembered tune from happier times . . . . .once recalled . . . then once again left behind. The piece closes with a return to the opening melody and a ray of hope for the future . . . . perhaps.
String Quartet No. 1; No. 1 (1998)
Fantasy for Brass and Percussion; No. 2 (1998) – for percussion ensemble and brass choir
The Fantasy for Brass and Percussion was composed in the fall of 1998 and premiered the next spring. I have always had a lively imagination and have become quite fascinated with the minds of children. This piece is my attempt to musically stimulate the listener to return to their youth and imagine the fantasies of a young boy. The piece occurs in four continuous movements: 1. Freudian Nightmares, 2. . . . Escape on the Bicycle, 3. Sunrise over Snowy Peaks, 4. Tribal Escapades and Finale. Each movement has a different feel and personality that I believe accurately reflects the intended fantasy.
Interlude; No. 20 – for trombone and percussion (2001). Commissioned by Cary Porter, and premiered on his senior recital at Baylor University in the spring of 2001.
Fanfare; No. 7 (1999) - for brass choir
This piece was composed to utilize the many virtuostic possibilities of the modern brass choir. It is a fast paced, driving, rhythmic piece containing variations on rhythmic and melodic fragments. This piece was premiered on October 1, 2000 by the Chicago Brass Choir, Michael Stewart, conductor.
Phantoms; No. 17 (2000) – for brass choir
This piece was composed as an experiment in dissonance and harmony. The piece is glued together by several unifying motives and themes. Phantoms is a musical representation of the dark half of humanity. Sadness, depression, solitude, insanity, and pure chaos are all well represented here. This piece also allows the performer to express him/herself in a short improvisatory section near the conclusion. In truth, the entire composition is based on the final three measures. These measures were conceived and composed first and the rest of the piece was built around them.
Random Acts of Trumpet; No. 13 – for unaccompanied trumpet (2000)
This piece explores the many different performance techniques and colors that can be achieved on the trumpet. It includes such modern touches as muted sections, extended passages of flutter tonguing, and low pedal tones. Premiered in a special recital by Cliff Horn at Baylor University November 16, 2000.
Essays; No. 12 for Flute and Piano (2000)
It is comprised of four movements, each exploring a different character of the flute.
Will you Help the Trembling Mourners?; No. 10 (2000) for Marimba
This piece was commissioned by Mr. Jason Medlin in memoriam to Dr. Ray Luper, former professor of Music at Baylor University and advisor of Church Music studies. Dr. Luper was a well-respected historian, professor, and friend to many students. This piece was performed at a tribute concert for Dr. Luper in the spring of 2000.
Casual Discussions; No. 14 (2000) for Marimba, Clarinet, and Piano
This piece is a musical realization of a somewhat whimsical conversation between these three instruments. Each instrument is featured in cadenza-like solo sections, allowing them to “voice” their own thoughts, as well as throwing them out into the mix. This piece received it’s premier in the spring of 2001 by Sara Fojtasek (percussion) and Angela Acker (clarinet) in a recital given at Baylor University.
What am I Doing?; No. 15 (2000) for four random people
This “piece” is my own personal tribute to the genius of John Cage. Each “performer has been supplied with a sealed envelope containing a list of four instructions. On stage is the first time they will see their instructions, so their responses will be entirely spontaneous! The “timekeeper” has previously selected the lengths of time that the “performance” will be allowed to continue. I’m not even really sure what’s going to happen. Sit back, relax and enjoy . . and don’t be afraid if some of the “performers” try to pull you into the act! This piece was “performed” in the fall of 2000 at Baylor University.
Four Sketches for Trumpet; No. 16 (2000)
This piece is exactly what the title suggests, it is comprised of four interrelated sketches. Each of the movements presents a common theme in slightly varied for and much use is made, and emphasis placed on, the interval of a tritone. Movement one could almost be titled “a study in counting.” This movement is a lively discussion between the trumpet and piano, in which one or both instruments play in, around, and off of one another’s lines. Movement two is a variation of what can only be compared to a modern waltz perhaps. While most of this section is in division of three, there are enough subtle deviations from this traditional setting to set off the average listener. Movement three is subtitled “song.” This portion attempts to explore the highly lyrical and song-like abilities of the trumpet. Movement four is a return to the lively tempo of the opening movement. Once again, the piano and trumpet are set against one another in a race for the finish. This quirky final movement comes complete with a never ending (possibly) section of record skipping repeats near it’s conclusion.
Flurries for Solo Marimba; No 29 (2003)
This piece was commissioned by soloist Brenton Dunnington for entry into the 2003 Percussive Arts Society Composition Competition. It is a virtuostic series of short loosely associated sections that most closely resemble both a snow flurry, and a flurry of thought!
In the Bleak Mid-winter; No. 23 (2001)
This piece will utilize the haunting melody from the traditional hymn by Gustav Holst. This piece is being composed for, and is dedicated to Mr. Robert Hastings, director of bands at Klein Oak High School in Spring, Texas. It is to be premiered upon completion in December of 2001.
Influences; No. 19 – for wind ensemble (2001).
This piece was commissioned by Jeff Grogan, associate director of bands at Baylor University, and premiered by the Baylor University Symphonic Band in a concert on April 23, 2001.
Influence – the act or power of producing an effect without apparent exertion of force or direct exercise of command; The power or capacity of causing an effect in indirect or intangible ways.
Who are the people in life that influence you? How do they affect you? Is their influence by design or coincidence? What do you take from the people around you, and what do you leave with them? This piece is about my influences. Having never studied composition in a formal setting, I had the great fortune of learning from the best source of all . . . those who have gone before me. Every time you listen to music you are changed. It is an experience that alters forever your understanding and appreciation of the universe around you.
Who then are the composers that have changed my understanding and relationship with music? William Walton, Leonard Bernstein, Samuel Barber, Stephen Sondheim, John Adams, Aaron Copland . . to name a few. These are the people who made music in the 20th century. Their contributions to modern classical music have been well documented by historians and academics. These people made the music that made me want to make music. As I flip through the pages of this score I can clearly see their influence on my composition, as if we are all gathered around the table passing manuscript paper from hand to hand. The point of this is simple; we forever change the people whose lives we touch. Whether it is through music, theatre, friendship, or just a passing word in a hallway. Who are your influences . . . and who do you influence?
Theoretically speaking . . . the piece is based on three main motives that occur in various forms throughout. A quick rhythmic motive heard in the opening sections, a constantly evolving dialogue between major and minor key relationships, and one melodic element, which can be heard in fragments throughout the composition, but is not heard in it’s entirety until the closing minutes of the work. The piece is loosely organized into four distinct sections. The first and last rely on velocity and rhythm, the second is a more calming cerebral setting, and the third section is a short interlude which serves as a transition into the final act. It is subtitled “an Overture for Band.” What is an overture? In this context I was thinking of the overture to a modern musical, which contains fragments and small sections of material from larger sections of the work as a whole. I think it’s clear how this inference ties into the previous discussion of influence and bringing together the best of many ideas from different sources.
Of Distant Dreams and Summer Days; No. 5 (1999)
Of Distant Dreams and Summer Days was composed in the summer of 1999. The work was based on and loosely inspired by a poem by an unknown author. I have attempted to probe the depths of the human mind to evoke thoughts of wistful summer eves and flagrant sunny days. The poem and the piece that reflects it’s message are a tribute to a life, now gone, which was carefree, optimistic, and hopeful for the future. This future would unfortunately never arrive. The piece is both a commentary on the joys of youth and the tragedy of a lifelong set of dreams and hopes that will never be realized
Baylor University Fanfare 2000; No. 8 (1999)
This piece was commissioned by Jeff Grogan, former Assistant Director of Bands at Baylor University, Waco; TX. It is interlaced and woven with traditional songs and melodies from Baylor’s long proud history.
Pictures for the American People; No. 24 (2002)
- “Honorable Mention” 2003 Metropolitan Wind Symphony Composition Competition -
Norman Rockwell is an icon of American life and art. His works have inspired generations of Americans for the last century. The covers of the Saturday Evening Post captured a unique and highly acclaimed view of American life. The images seen in his paintings tell a story far greater than any one picture, they tell stories of life . . . . not life anywhere . . but here . . in America.
Pictures for the American People is a work of 5 movements. Each movement is inspired by a painting of Norman Rockwell. The piece was commissioned in the spring of 2002 by the senior class of the Dulles High School Band; Sugar Land, Texas, in honor of their band director; Mr. Bill Duggan for his years of service and inspiring teaching.
Movement one is titled “War News” after the painting of the same name. This movement is intended to re-create a vintage radio news broadcast. This portion is relatively short (as the news blips were) and goes from one section of material to the next before rapping up quickly.
The second section is titled “Girl at the Mirror” after Rockwell’s famous portrait of a young girl sitting at the mirror. A magazine is open on her lap with the picture of an older model. The girl has carefully pinned her hair in an innocent attempt to re-create the models looks. The piece is one of a simple, innocent theme with an underscoring of longing for something you cannot yet have.
The third movement is titled “Shuffleton’s Barbershop.” This painting depicts a closed barbershop at night. In the back you can peer through an open doorway to the brightly lit back section of the store. In the background you can see several gentlemen with fiddles, a clarinet, and a bass. This section of music captures the free-styling of a real American Hoedown.
The fourth movement is titled “JFK” after the painters famous portrait of President Kennedy. This section has been scored for brass only. The music is both regal and tragic. There is a constant feeling of foreboding and sadness.
The final movement is titled “The Final Impossibility.” This painting depicts the fist moon landing. For a generation of Americans this event represents the crowning achievement in human exploration. Although our generation has accepted the fact that man travels in space, this was a monumental and impossible task for a great many. The movement takes you from the launch, through the journey to the moon, to the landing, and back home again.
This piece is based on a poem by Edgar Allen Poe of the same name. Many extended performance techniques are put into use during this piece including singing, chanting, stomping, improvisation, singing glasses, etc. The piece projects images of a vast proud castle and kingdom, well kept and in the height of it’s splendor. It is suddenly consumed with confusion and fear as dark forces move in and a fierce battle ensues. This piece was commissioned by Barbara Streit for the 2002 Summer Band Camps at West Texas State University in Canyon, Texas.
The Eternal Pursuit; No. 26 (2002)
This piece was commissioned by the First Colony Middle School Honors Band in commemoration of their performance at the 2002 MidWest International Band and Orchestra Convention in Chicago, Illinios. This piece is published by FJH Music publishers and can be heard in it’s entirety at their website: www.fjhmusic.com.
Tempest After Noon; No 28 (2002)
This piece is a musical recreation of a passing storm as told through the eyes of an observer. The piece is set for Wind Ensemble and Tenor voice/narrator. The text and lyrics for the piece were written by New England poet and lyricist Steven Withrow. The piece was commissioned by the Klein Oak High School Honor Band; Klein, Texas.
Ferris Wheel; No. 30 (2003)
This piece represents an evening trip to the local carnival. It is marked with unending multiple meter passages and both extensive brass and woodwind solos. It was commissioned by a group of Texas public school bands in 2003 with individual premiers taking place throughout the fall of 2003 and spring of 2004.
Beyond the Stars; No. 31 (2003)
This piece is my own personal tribute to Science Fiction. For years authors, directors, and creators have dared to imagine what goes on past our corner of the universe. This piece pays tribute to them, as well as to an imagined space trip beyond the stars! It was commissioned by a group of Texas public school bands in 2003 with individual premiers taking place throughout the fall of 2003 and spring of 2004.
Daydreams; No 32 (2003)
This piece was inspired by the laziness of a summer day. It is the wistful recreation of a multitude of events, images, thoughts, and feelings that flood the mind when it decides to wander. It was a humble attempt to compose a slow lyrical piece for younger performing groups.
Concerto No. 2 for Marimba and Wind Ensemble; No. 33 (2003)
This piece was commissioned by Dr. Kevin Sedatole and the Baylor University Wind Ensemble in honor of retiring Dr. Larry Vanlandingham who retired from 40 years of service to the university as the professor of percussion; 1963-2003.
Birth of the Foundation; No. 34 (2003)
This piece is set to be the first in a series of compositions based on the Foundation Novels of famed 20th century science fiction author Isaac Asimov. This first installment musically recreates Hari Seldon’s first visit to the capital city of Trantor, and his flight from Emperor Cleon II that follows.
An American Hymn; No. 35 (2004)
This piece is subtitled “A modern essay on the American Revolution.” This piece is evocative of a fife and drum band leading a march to battle, and a sweeping hymn that captured the desire for freedom from tyranny.
On the Banks of the River Shannon; No. 37 (2004)
This piece was commissioned by Rory Davis and the Cinco Ranch Jr. High Honors Band in commemoration of their performance at the 2004 Mid West International Band and Orchestra Clinic in Chicago, Illinois. The piece is a musical ride down the Irish river that passed through the city of Limerick. One section celebrates the town’s rich history and modern present day, the other explores the walls of an old English castle long forgotten.
Orchestra
Psalm 98; No. 4 – a short oratorio for mixed chorus and orchestra (1999)
Concerto No. 1 for Marimba and Orchestra; No. 9 (1999)
This piece was commissioned by percussionist Jacob Ramirez for the final recital in a series of concerts given over a period of four years. It is a spirited virtuostic piece that is based on three elements: 1.) a series of three chords presented in the introduction, 2.) the first melody which appears after the initial cadenza, 3.) and the interval of a perfect fourth.
Reflections; No. 38 (2004) for string orchestra is a soft wandering journey through the world.
The Folly of it; No. 11 (2000)
Tragedy – for tenor and piano
The Optimist – for tenor and piano
Home is Where there is One to Love Us – for tenor and piano
This piece is a set of three songs that utilize poetry from American poets. Although each poem is different, I feel they all reflect upon the frailty, strength, and folly of life. Tragedy is set as a dance in a minor key to reflect the somewhat satirical message of a child’s want of a balloon. Home is Where There is One to Love us says things about the soul and spirit of all human beings and our quest for happiness. The Optimist was included in this set as an intentional satirical commentary on the ups and downs of life and some people’s ability or inability to deal with them.
One Myth of Mind No. 36 (2004) – for chorus and piano
This piece was composed in collaboration with New England Lyricist Steven Withrow. It explores the science fiction writers of the 20th centuries and their flights of fancy.
Giving; No. 18 (2000)– A Chandler/Rabalais motion picture.
This is a short film containing a powerful commentary on the stereotypes of modern society and the loss of innocence from one generation to the next.