|
Concerto for Alto Saxophone and Wind Ensemble (2008) c. 20'
|
 |
Comments: Consortium Commission by Indiana Univ, Emory Univ., Univ. Of Wisc.-Whitewater, Truman State Univ., Univ. of Idaho. Thomas Walsh, Commission Coordinator
In three movements: 1. "Rage" Short and pointillistic 2. "La Luna D'Oro" Based on "Serdeczne Matko", a Polish folk tune/hymn. Begins quietly and intensifies rhythmically and dynamically to a climax, at which point the hymn is heard in a lyrical but contemporary setting. The cadenza links thematic material from the second and third movements. 3. "NOLA" Based on authentic Second Line rhythms of New Orleans, LA (NOLA). Two sections alternate between the two sides of the New Orleans clave-first 3-2 then 2-3. In classic Second Line manner, the hymn, played as a dirge on the way to the cemetary (in the second movement), is reset in double time on the way back. An exuberant and joyous movement, it ends with a bang.
A piano reduction is also available.
|
 |
 |
 |
 |
 |
Program Notes
|
 |
 |
 |
 |
 |
Available for Purchase c. April 2009
|
 |
 |
 |
 |
 |
 |
Spirals (2006), string orchestra c. 8' 30"
|
 |
Comments: Transcription of Spirals for string quartet. New elements in this arrangement include a concerto grosso-like opposition between a quartet comprised of the first-chair players and the tutti. Based on the opening material from the third movement of Brahms' Op. 67 string quartet (directly quoted near the end), Spirals is a bright, rhythmic and accessible piece which functions well as an orchestral opener.
|
 |
 |
 |
 |
 |
PURCHASE
|
 |
 |
 |
 |
 |
 |
Symmetries (1997), picc/2 fl/2 ob/eh/2 cl/ bs cl/2 bsn/ctbsn, 4-3-3-1, pno-cel, strings c. 10' 30"
|
 |
Comments: Finalist, 1998 Quinto Maganini Composition Competition of the Norwalk Symphony Orchestra
|
 |
 |
 |
 |
 |
 |
Ostinati (1991), picc/2 fl/2 ob/eh/2 cl/ bs cl/2 bsn/ctbsn, 4-3-3-1, pno-cel, strings c. 9'
|
 |
 |
 |
 |
 |
 |
See Also: I Have Dreamed for an arrangement of this Rodgers and Hammerstein standard in the Jazz and Standards section.
|
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
|
|