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Like Ken, I value the work of the very talented and dedicated students with whom I have made music over the years; \u003ci\u003ePrelude Upon Vigil Chords\u003c\/i\u003e thus pays homage to my former student Ryan Vigil by borrowing several chords from one of the first pieces he completed while studying with me at Tufts University in the fall of 2002. The piece is tranquil yet sets the stage for what might be called the tragic complaints of the remainder of the work.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003e\u003ci\u003eThree Desolate Panels \u003c\/i\u003eis a suite of laments riveted on the perennially tragic problem of economic inequality. Each of the three short pieces (panels) comprising the movement works with its own spare means. \u003ci\u003ePoverty Management\u003c\/i\u003e and \u003ci\u003eReduced Circumstances \u003c\/i\u003euse a mere six pitches each, attempting to illustrate how severe limits might of necessity yield “enough;” the point here is: conserve. \u003ci\u003eNotated Between Crises \u003c\/i\u003eis simply a dramatic centerpiece dividing the outer two panels; its distinguishing feature is a lengthy unison string passage played under the restraining factor of practice mutes.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003e\u003ci\u003ePostlude: Sealed Inarticulate Woe\u003c\/i\u003e takes line 8 from Stevie Smith’s poem “The Abominable Lake” as a cue, concluding \u003cb\u003e\u003ci\u003eTranscriptions \u003c\/i\u003e\u003c\/b\u003ein despair.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" align=\"center\" style=\"margin-bottom: 0in; text-align: center;\"\u003e\u003ci\u003e…Poor world, my heart breaks for your sealed inarticulate woe…\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" align=\"center\" style=\"margin-bottom: 0in; text-align: center;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" align=\"center\" style=\"margin-bottom: 0in; text-align: left;\"\u003eCommissioned by World-Wide Concurrent Premieres and Commissioning Fund, Inc.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" align=\"center\" style=\"margin-bottom: 0in; text-align: left;\"\u003eDedicated to Kenneth Radnofsky, with great admiration.\u003c\/p\u003e","brand":"John D. 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After 50 years, his National Cello Institute continues to light up the lives of more than 150 participants each year.\u003c\/p\u003e\n\u003cp\u003eI had the immense pleasure of working with Rick as student, teacher, and colleague. In my early cello teaching days, I took a teacher training course with Rick, and learned valuable lessons that I carried into my years of teaching music theory and composition. In his early days of arranging cello ensembles Rick came to me with questions about harmony and voice leading. One of his earliest projects was a beautiful arrangement of “Pie Jesu” from Fauré’s Requiem. 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