Sonata for Piano and Percussion
Sonata for Piano and Percussion (23:00) Sonata for Piano and Percussion is scored for three percussionists and piano. It is at times a chamber piano concerto and at other times a percussion ensemble that includes piano. It draws inspiration from Bartok and George Crumb. An introduction, four major movements, and a coda feature piano. Three interludes emphasize non-pitched percussion. The nine sections flow in a continuous performance, telling a story of creation, discovery, exploration, and realization. Beginning (3:05) – An atmospheric and slow start, with piano eventually articulating the main theme, inspired by Bartok’s Sonata for Two Pianos and Percussion, that is transformed in the ensuing movements. Energy manifests into form. Awakening (3:05) is in sonata form with mallet percussion echoing piano gestures. Piano states the first theme as form comes alive. The second theme is more active, with statements from all the players. A short development is very active, ending in a quiet pause which leads to a brief recapitulation and a coda of sustained chords. Interlude 1 – Wood (1:10) A marimba solo is accompanied by temple blocks, wood blocks, and claves. Exploration (3:25) starts tentatively, in a slow melodic flow, but with an underlying fast tempo. The energy moves from tentative and gentle to active and dynamic. The development expresses a larger dynamic then settles into a pause before the theme returns. Another chordal coda ends the movement. Interlude 2 – Drums (1:15) Timpani lead the way through a constantly active rhythm. Snare drum has something distinctive to say as well. Excitement (2:40) Piano introduces the first theme, a toccata-like figure with mallets along for the ride. Mallets lead a quasi ostinato middle transition theme followed by a fierce chordal second theme from the piano. Again a pause leads to a restatement of the theme, and another chordal coda brings the excitement to an end. Interlude 3 – Metal (1:40) The texture of Beginning returns, with vibraphone and piano leading the way, accented with metallic gestures and statements from crotales and glockenspiel. Realizations (4:55) starts with a rhythmic accompaniment for the piano’s opening theme, interspersed with themes from prior movements. A second theme appears after a series of descending fast runs. The development features variations on themes from this and prior movements. The pulsing rhythm marks the start of thematic restatements. Ending (2:00) is an extended chordal coda – a series of dense rising chords accented with metallic touches. The piano is supported by vibraphone, glockenspiel and crotales. Feel free to download a PDF of the score (currently no charge). To purchase a printed and bound score, with or without parts, or obtain PDF parts, please contact me.
Sono Visto for Flute and Voice
Sono Visto for Flute and Voice (6:40) Sono Visto was inspired by flutist Lindsey Goodman, who is not only an amazing flutist, but also a vocal artist. The piece was originally conceived as a solo, with occasional singing into the flute, but it may also be performed as a duet between singer and flutist. The essence of this piece is the mixing of beautiful sustained tones of evolving texture or timbre, interspersed with virtuosic flourishes from the flute. This version is for alto range (B3 to E5). A version for mezzo-soprano range (B3 to A♭5) is also available, and the vocal part may be performed an octave lower by tenor or baritone. Feel free to download a PDF of the score (currently no charge). To purchase a printed and bound score, with or without parts, or obtain PDF parts, please contact me.
6 for 5 – Suite for Wind Quintet
6 for 5 – Suite for Wind Quintet (20:45) The six parts of this suite are all composed from the same basic raw material, but varied rhythmically and melodically according to the nature of each. The six pieces are in three pairs: two mixed tempi sonata form movements at beginning and end, two slow, reflective movements in the middle, and two fast movements in the center (mixed, slow, fast, fast, slow, mixed). They journey through a range of emotions, ending on an upbeat note. The Italian subtitles give a sense of the individual character of each movement. Sonata Sacrale (Sacred Sonata)- Allegro (4:30) Sogno Misterioso (Mysterious Dream) – Lento Espressivo (4:10) Danza Saltellando (Jumping Dance)- Vivace (2:50) Canto Aviaria (Bird Song)- Vivo (2:50) Canto Lamentoso (Song of Lamentation)- Adagio espressivo (3:25) Sonata Gioviale (Jovial Sonata)- Allegro molto (3:05) Feel free to download a PDF of the score (currently no charge). To purchase a printed and bound score, with or without parts, or obtain PDF parts, please contact me.
Five Madrigals for Brass Quintet
Five Madrigals for Brass Quintet (18:30) Each of these five-part “songs” for brass quintet is based on a stanza from the poem below, composed using the 7-syllable and 11-syllable lines characteristic of madrigal form. We gather in harmony … (3:30) Death is sad for the living … (4:30) We can still play toss the ball … (3:05) Beauty is all around us … (4:20) We reach and grow together … (3:05) I.We gather in harmony;Each has a story to tell.Our voices weave stories into history. II.Death is sad for the living;And a journey for the dead.We see not across that foggy river bed. III.We can still play toss the ball.We can still dance and sing songs.The simple joys are possible despite all. IV.Beauty is all around us;Creation is alive, see!We all weave the web of life eternally. V.We reach and grow together;Dreaming in both night and day.Life is precious, let not time slip away. Feel free to download a PDF of the score (currently no charge). To purchase a printed and bound score, with or without parts, or obtain PDF parts, please contact me.
String Quartet #1 – Lineal
String Quartet #1 – Lineal (18:30) My first venture into the hallowed territory of string quartet is inspired primarily by Beethoven’s monumental contribution to the genre, particularly the late quartets. It is conservative in the absence of non-traditional techniques and an emphasis on expressive melody and counterpoint. It is pure music, without any narrative or background intention, to be enjoyed as a deeply felt and sometimes playful exchange among four passionate and committed characters who express their feelings without words and in marvelous synchronicity. The four movements follow the traditional sequence and character associated with string quartet: fast and varied sonata form, slow and lyrical variations, dancelike quickness in three’s, and sonata form finale. The Prelude (Violin I) and three Interludes (Viola, Violin II, then Cello) preceding each of the four movements are variations on a common theme and give each character a chance to express on their own, backed up by their friends. Introduction – Adagio Sostenuto – 1st violin solo (1:20) Allegro moderato (4:35) Interlude 1 – Adagio – viola solo (0:55) Andante espressivo (3:45) Interlude 2 – Animato – 2nd violin solo (0:40) Animato –(3:25) Interlude 3 – Adagio – cello solo (1:00) Allegro moderato con moto/Adagio (5:20) View or download a PDF of the score (currently no charge). To purchase a printed and bound score, with or without parts, or obtain PDF parts, please contact me.
