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Title | View | Instrumentation | Duration | Composer | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| for string quartet | String Quartet | 12' 30" | A finalist for The American Prize for Chamber Music, String Quartet No. 1 (”City Walks”) is a single-movement work (c. 13′) exploring a variety of stylistic and emotional zones, from a sweeping, mournful – almost cantorial – cello solo at the beginning to lively scherzo finale. It is featured on the Juventas New Music Ensemble‘s […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| A finalist for The American Prize for Chamber Music, String Quartet No. 1 (”City Walks”) is a single-movement work (c. 13′) exploring a variety of stylistic and emotional zones, from a sweeping, mournful – almost cantorial – cello solo at the beginning to lively scherzo finale. It is featured on the Juventas New Music Ensemble‘s […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| String Quartet | String Quartet | 20' | This String Quartet is a balance of dramatic and lyrical material, varying greatly. The opening movement begins with poignant polyphony, but then morphs into rapid-fire exciting passage work in the central portion, returning in time to the quieter mood of the beginning. Movement II reminds one of a classic Siciliano, with its dotted rhythmic patterns […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This String Quartet is a balance of dramatic and lyrical material, varying greatly. The opening movement begins with poignant polyphony, but then morphs into rapid-fire exciting passage work in the central portion, returning in time to the quieter mood of the beginning. Movement II reminds one of a classic Siciliano, with its dotted rhythmic patterns […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| for Violoncello and Piano | Cello | 14' | Inspired by Debussy’s Sonata for ‘Cello, the movement titles suggest a scenario in which the two players interact somewhat like actors in a series of scenes. In “Proclamation” the piano clearly opposes the ideas put forward by the cello. the “attaca” 2nd movt., “Repartee” finds them backing off their confrontation, and exchanging somewhat barbed witicisms […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Inspired by Debussy’s Sonata for ‘Cello, the movement titles suggest a scenario in which the two players interact somewhat like actors in a series of scenes. In “Proclamation” the piano clearly opposes the ideas put forward by the cello. the “attaca” 2nd movt., “Repartee” finds them backing off their confrontation, and exchanging somewhat barbed witicisms […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| for two pianos | Piano | 6' | Overture/Rondo is a transcription and rearrangement of the third and final movement of my Concerto for Piano and Small Orchestra. The original soloist’s role has now been re-distributed, alternating between the two pianists, and other such adjustments have been made to more equitably divide the music. In the Concerto, there is a considerably longer cadenza […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Overture/Rondo is a transcription and rearrangement of the third and final movement of my Concerto for Piano and Small Orchestra. The original soloist’s role has now been re-distributed, alternating between the two pianists, and other such adjustments have been made to more equitably divide the music. In the Concerto, there is a considerably longer cadenza […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| for Brass Quintet and Percussion | Brass ⋅ Percussion | 7'15" | Four traditional Christmas carols from Spain, set for Brass Quintet and one percussionist. Styles include simple folk melodies, a Samba, a lyric ballad, and a robust “troubadour” song. Perfect for Concert or Carol Service. Percussionist needs: Triangle, Maracas, Bells, Bass Drum, Field Drum. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Four traditional Christmas carols from Spain, set for Brass Quintet and one percussionist. Styles include simple folk melodies, a Samba, a lyric ballad, and a robust “troubadour” song. Perfect for Concert or Carol Service. Percussionist needs: Triangle, Maracas, Bells, Bass Drum, Field Drum. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| for brass and percussion | Brass ⋅ Percussion ⋅ Trombone ⋅ Trumpet ⋅ Tuba | 2' 20" | FANFARE was commissioned by the Washington International School, the composer’s alma mater and premiered at a gala event celebrating the school’s 40th anniversary in May, 2006. Score and parts included. Instrumentation 3 trumpets in C 1 trombone 1 bass trombone 1 tuba Timpani (3) Percussion (bass drum, suspended cymbal, snare drum, tambourine, triangle) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| FANFARE was commissioned by the Washington International School, the composer’s alma mater and premiered at a gala event celebrating the school’s 40th anniversary in May, 2006. Score and parts included. Instrumentation 3 trumpets in C 1 trombone 1 bass trombone 1 tuba Timpani (3) Percussion (bass drum, suspended cymbal, snare drum, tambourine, triangle) | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| for string quartet | String Quartet | 10' | Elegance and Superstition is a piece that was born out of a musical gesture and a guiding principle. The gesture consists of two notes tossed upward, like balls into the air. There is a pause, and they are tossed again, this time a bit higher. The guiding principle is derived from something that composer Eve […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Elegance and Superstition is a piece that was born out of a musical gesture and a guiding principle. The gesture consists of two notes tossed upward, like balls into the air. There is a pause, and they are tossed again, this time a bit higher. The guiding principle is derived from something that composer Eve […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| for mixed septet | Cello ⋅ Clarinet ⋅ Double Bass ⋅ Flute ⋅ Percussion ⋅ Piano ⋅ Viola | 13'30" | Chiaroscuro was composed in 1991 for the CONVERGENCE Ensemble, a group of dancers and musicians, who gave the first performance at The Painted Bride Gallery in Philadelphia. In the concept of the dance, lighting played a major role, sometimes silhouetting dancers posed like sculptures against a light background, sometimes presenting them brightly against the dark, […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Chiaroscuro was composed in 1991 for the CONVERGENCE Ensemble, a group of dancers and musicians, who gave the first performance at The Painted Bride Gallery in Philadelphia. In the concept of the dance, lighting played a major role, sometimes silhouetting dancers posed like sculptures against a light background, sometimes presenting them brightly against the dark, […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| for two pianos & percussion | Percussion ⋅ Piano | 18' | The two roughly equal-length movements relate to each other by contrast– the first, rather somber; the second more jubilant. Both movements are through-composed, without apparent repetition or recapitulation. However, symmetries and parallels exist between the two. Canons begin movement one, and conclude movement two. Both begin with introductions, followed by a main section which builds […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The two roughly equal-length movements relate to each other by contrast– the first, rather somber; the second more jubilant. Both movements are through-composed, without apparent repetition or recapitulation. However, symmetries and parallels exist between the two. Canons begin movement one, and conclude movement two. Both begin with introductions, followed by a main section which builds […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| for Flute, Cello and Harpsichord | Cello ⋅ Flute ⋅ Harpsichord | 9' | Little contemporary music is written for the Harpsichord, so “Andante and Jubilation” for Harpsichord, Flute and Cello is a welcome addition to the available new music. The music is written idiomatically for all three instruments. The result is a sound that achieves a fresh expression of Baroque sensibilities without attempting to copy that period’s idioms. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Little contemporary music is written for the Harpsichord, so “Andante and Jubilation” for Harpsichord, Flute and Cello is a welcome addition to the available new music. The music is written idiomatically for all three instruments. The result is a sound that achieves a fresh expression of Baroque sensibilities without attempting to copy that period’s idioms. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||