15 players or with added chamber orchestra strings
Winner of the Nebraska Sinfonia Competition in 1981, the
ISCM Competition in 1982, and premiered in its orchestral setting (full chamber
strings) by the Omaha Symphony, Thomas Briccetti, conductor, in 1981,
CONCERTINO is a one movement work mainly concerned with a line and its changing
harmonic environment. Each player in the ensemble is featured as a soloist, as
the line in its continual transformations passes through the various
Suite for wind quartet, string quartet, piano and percussion. Commissioned by North/South Ensemble for its 10th anniversary. Grand Prize in 1996 Utah Composers' Competition. ' . . . a vivid, highly entertaining sense of instrumental color . . .'-- Story,
Composer's note: The Line Between was written with an enormous amount of flexibility and rhythmic freedom in mind; not a lot of concern for strict synchronicity between voice and tape within phrases. The music allows the singer to be free within the bounds of sounds which are, by necessity, fixed. The lack of strict rhythmic correlation creates a sense of “communal prayer” which is heard very clearly at several points (perhaps most notably in the final minute).
There are many moments (the very first phrase, for example) where the singer has a great deal of freedom in tempo; often the tape part emerges without a clear beginning from the singer’s pitch. In such cases—and, really, throughout the piece—the singer is encouraged to treat a phrase’s internal rhythms with some freedom. Again, the composer is drawing on the aural image of prayer chants; both the variation one might hear as different chanters lead a prayer, and the heterophony that emerges as a group chants ‘together.’
Print Edition Price:
$15.50 score with audio file (2 scores needed - for soprano and tape operator; Audio file by download link)
Although virtually unknown in the United States, these poems for children are celebrated in France, regarded in much the same way as Mother Goose Rhymes are here. Almost all French schoolchildren are said to know La Fourmi.
While not all of the poems in this set portray their subjects with such fantastic traits as a giant, multilingual ant, they all imagine an intricate, singular, and frequently ironic – sometimes dramatic – existence. There is the heroic seahorse that no one has been able to ride or harness, the industrious grasshopper who rests only on Sundays, the fearful leopard who sings duets with the nightingale, the frolicking zebra who wears his own prison, the firefly that feeds on the moon as it sprinkles dreams on sleeping children. All, too, present the kind of contrasting moods and the occasional internal twist that make them very rich material as musical texts.
The political upheavals during the time of the Gulf War (and sadly relevant over a decade later) may well have exerted a subconscious influence on this image of the first movement: A caged bird, beating its wings in desperation, sings all the while. In addition, one also hears a disjunct version of a nostalgic World War I (“Ich hat’ einen Kameraden”) song about a fallen comrade; this juxtaposition against the futile attempts at ‘winged flight’ provides, in essence, the duality of the sonata principle.