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Charles
A.
Martin

Pianist / Performer / Composer

Contact
Email: charlesmartinpianist@gmail.com
Phone: (971)272-5945

Stay informed about upcoming Concerts!

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Achievments

 
Featured in Michael Allen Harrison's "The Ten Grands" April 2023

Selected as featured pianist in Michael Allen Harrison's Spring Concert at the Arlene Schnitzer Concert Hall in Downtown Portland, OR

 
National Finalist MTNA Senior Composition Competiton 2022-2023

Won State, Regionals, and competed against six other National Finalists in MTNA's Senior Composition Competition.

 
OMTA Honored Composer for 2023 Composition Festival

Composed "The Gladiator" for Four Hands (one piano) for OMTA's 2023 Composition Festival and received the title of Honored Composer.

 
Prize Winner of Monday Musical Club for Piano Performance 2023

Prize Winner in Portland's Monday Musical Club Awards Competition.

 
Composition Featured by Chamber Music Northwest's "The Young Artist Institute"

Chosen as a composer in Chamber Music Northwest's "Young Artist Institute" with Poet Belen Mendoza Cortes. Music performed by the D'Beri String Quartet.

 
Written for Portland's Metropolitan Youth Symphony

Commissioned "The Steadfast Tin Soldier", a Symphonic Fairytale by Portland's Metropolitan Youth Symphony.

Music by
C. A. Martin

A Song of Grief, string quartet. Inspired by the poem "Dwindled Hopes" by Belen Mendoza Cortes. Written for Chamber Music Northwest's "Young Artist Institute", and premiered July 7th, 2023.
A Fantasy in Blue, chamber orchestra. Heavily inspired by George Gershwin, written for Fear No Music's "The Young Composers Project".

See more info on "The Young Composers Project" below

The Gladiator, Four-Hands. Written for OMTA's 2023 Summer Composition Festival. Performed by C. A. Martin and composer/pianist George R. Miller.
A Chorus of Unlikely Pond Creatures, solo piano. This piece was written in 2019, but it as used to compete in MTNA's 2022-2023 Senior Composition Competition, and made Nationals. There is actually a story this piece follows:

"It starts out with the melody of a Trout going about its business: splashing, and swimming as it pleases. But soon, a Mother Osprey comes to catch it and feed it to her young. The Trout, however, is obviously reluctant, and manages to escape the relentless pursuit of the Osprey, and she leaves. Then, out of the reeds comes Mother and Father duckling. They are proud creatures because they are the only pond creatures who can fly. They let their ducklings play in the pond while the Osprey is away, and then the Frogs come out and play, but as the Pond becomes louder and louder, the Osprey returns to catch the Trout. The Trout, now arrogant in its ability to evade, toys with the Osprey. But its arrogance gets the better of him, and the Osprey flies off with the Trout in her talons."

-C. A. Martin

The Steadfast Tin Soldier, A Symphonic Fairytale. Premiered by conductor Raúl Gómez-Rojas and the Metropolitan Youth Symphony on March 3rd, 2024. Below is a review by Journalist, James Bash from the Oregon ArtsWatch:

"Based on the Hans Christian Anderson story with the same name, The Steadfast Tin Soldier, Martin’s music portrayed a tragic tale involving metal toys. Martin deftly portrayed the characters with combinations of instruments, such as the bassoon and lower strings for the toy king, and conveyed the events of the story with evocative musical passages: the tin soldier marched about, the princess danced with an elegant legato, and the selfish toy king became aggressive with trumpets blaring. There were some moments in the piece that reminded me of Prokofiev (perhaps Lieutenant Kijé) before chaos ensued with the toy king unleashing his troops on the soldier. The ending expertly captured the fire and the dying embers, with the soldier and the princess melted together. 

While the audience enthusiastically acknowledged Martin’s music with cheers and applause, he was blocked from coming to center stage by a wall that was at least waist-high. Martin overcame that challenge by simply hoisting himself and stepping over the wall. That was a feat that I expect never to see a composer do again, but showed Martin’s resolve and pluck and bodes well for his future!"

-James Bash, writer for the Oregon ArtsWatch

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