Selected works that have had featured performances:
...el viento me dira' cuando este' muerto
(...the wind will tell me when I am dead.) (2003/4) ~ 15'
A narrative for orchestra
[1 pic., 3 fls., 3 obs. (III Eh.), 3 Cls., B Cl., 2 Bns. C Bsn, 4-4-3-1, Timp., 2 perc, pno., and Strings]
This through-composed single movement was began at the Virginia Center for Arts.
Fandanguillo for organ (2003). ~ 7'
Performances scheduled for October and November 2003,
please see Performance page for info.
Fugue for Solo Clavichord (2003) ~ 3'30"
A gift for the members of the Boston Clavichord Society.
To Heart's and Eyes' Delight (2003) ~3'
a madrigal for unaccompanied SATB
Alla Scherzo for 8 – 12 trumpets (2003) ~3'
This work was premiered at the 2003 International Trumpet Guild Conference
in Fort Worth, Texas.
…
as though colors poured... (2002) ~ 5'
First performed by the California EAR Unit in August of 2002, it won
First Prize in the composition section at the 2003 Contemporary Music
Society Competition in Tempe, Arizona.
Wind Trio for flute, clarinet,
and bassoon
Two Songs of Spring for mezzo-soprano and piano
Boat of Stars
Two by Two
Miiskwabek for Brass Quintet
Prelude and Allegro for Wind
Symphony
Prelude and Allegro for Wind Symphony was one of ten finalists in
the 2003 Penfield High School Composition Competition. This was the
composer’s first work for this ensemble. The music places two
contrary moods in juxtaposition. The first mood is dark and somber
which takes on a reflective quality. The music is based upon a four-note
motive that can be heard in the opening line of the clarinet. The
line grows through the ensemble until the dramatic, pensive climax
of the Prelude. A percussion interlude introduces a rhythmic profile
on which the four-note motive is freely set. This vibrant and elated
mood of the Allegro has the form of a “concerto grosso” in
which many instruments have an opportunity to play the motive. The
music culminates at the end where the Prelude and Allegro are intertwined.
Micrologus for Solo Flute
Micrologus is a five-movement work for solo flute. The overall shape
of the work is an arch form, where the outer works are mirror reflections
of each other, centered on a middle movement. The title of this multi-movement
work, Micrologus, shares the same title as a theoretical treatise
by the medieval scholar, Guido d’Arezzo. The word Micrologus translates as “little discourse”. This work received
it first radio broadcast on KUAT in October of 2002.
Piano Set I
...trees rustling in silence is a musical depiction of the interaction
between nature and sound. While reading Toru Takemitsu’s writings
on nature and music, I was intrigued by his comments about confronting
silence, especially by the idea that “Music is either sound or
silence”. With the diverse color palate of the piano, the music
looks to embody the gentle to turbulent reactions of the wind. For
unity with the works structure, the selected opening pitch material
is recast for its harmonic shading while holding onto the pitches
g-flat and f-natural as reference points. A thin texture of sound
slowly moves
through different registers to give the listener an opportunity to
hear pure, individual pitches with subtle changes. The wind gusts
and the music slowly finds its shape again bringing this musical
vignette
to close.
…
ebb and flow to clarity follows a similar philosophy of emulating
nature. This explores the flow or streams that we experience in
water, emotions,
thoughts, and music. The presentation of these ideas is quick,
ebullient gestures that have fleeting points of repose before actively
pursuing
their goals. These pursuits, as in nature, build through replication
or can suddenly burst into hyperactivity. Through the blur of movement
and counter-motion the final goal of clarity is reached.
Two Images for Orchestra
Two Images for Orchestra is the orchestral setting of the thematic
ideas from Piano Set I. Upon taking up the challenge of coloring
these pieces, I chose to re-evaluate them and make some compositional
changes. With these works in the hands of many performers, there
is opportunity to expand my original musical idea. These ideas took
the form of color, texture, and recasting of musical gestures. These
pieces take on colorful distinction from their original piano setting,
and have created their own existence and not as a mere orchestration
of a piano work.
Aria for Solo Bassoon
Rhythmos for 5 Percussionists
