Category: conductor

Symphony No. 4

Clusters

Curious Case of Benjamin Button, The (after the story by F. Scott Fitzgerald)

Linda Larson, sopranoChris Trakas as Benjamin Button

Dominic Inferrera as young Benjamin Button

Last scene

SYMPHONY no 1

ENCOUNTER

SINFONIETTA

Le Poème Inattendu

In writing a work for large orchestra, the main problem that presented itself was such: that for all the twentieth century techniques that deal with material (i.e. structure or pitch classes), for the most part we are stuck with the same timbres. Admittedly, composers such as Bela Bartok, Gyorgy Ligeti, and George Crumb have made much progress in the use of instruments and instrumentation. However, apart from some accepted new ways of employing instruments, a romantic size orchestra in the twentieth century still sounds, to my ears, like a romantic size orchestra.

I felt that trying to change this fact was a bit like trying to alter the universe, so instead of attempting to invent a “new” sound, I aimed to highlight the similarity of acoustic sounds between twentieth century and late romantic material (keep in mind this work was written in the last century!!)

SNEGGLISH DANCES

REVENANT - Concerto for Horn and Orchestra (2004)

CONCERTO FOR FLUTE AND CHAMBER ORCHESTRA

See Lawrence Dillon "Orpheus in the Afterworld" Concerto for Flute and Chamber Orchestra

SINFONIA (from The Man With a Hoe)

MAN WITH A HOE, THE

TROIS OEUVRES DE RAMEAU for Orchestra

Orchestrations of three harpsichord works by J P Rameau

COLLOQUY

The composer's own voice is memorialized on the playback tape, which features a speaker (electronically processed voice) having a "conversation" with the orchestra about electronic music and the various sounds that can be synthesized (a la mid-1970s), as a friendly jousting back and forth between the tape and the instrumentalists in the orchestra. Requires a tape operator to stop and start a CD or computer audio files at precise moments in the score.  

TWO PIECES FOR ORCHESTRA (A Spiritual and Blues Fantasy)