Barbara Harbach
Chamber
Chamber
Terezin Children's Songs for Soprano, Violin and Piano, 2016 - MS 1544
The ghetto of Terezin (Theresienstadt), located in the hills outside Prague, was an unusual concentration camp in that it was created to cover up the Nazi genocide of the Jews. Billed as the “Führer’s gift to the Jews, this “model ghetto” was the site of a Red Cross inspection visit in 1944. With its high proportion of artists and intellectuals, culture flourished in the ghetto – alongside starvation, disease, and constant dread of transports to the death camps of the east. Every one of its inhabitants was condemned in advance to die.
97,297 died among whom were 15,000 children between the years 1942-1944; less than 100 children survived. In the poems and drawings of the children, many smuggled out of the camp, we see the daily misery of these uprooted children, as well as their courage and optimism, their hopes and fears. These innocent and honest depictions allow us to see through the eyes of the children what life was like in the ghetto. Their art reveals a maturity beyond their years, are haunting reminders of what no child should ever have to see. In spite of the circumstances, the poetry is beautiful and uplifting – telling a story that resonates in each of us.
Birdsong – 1941 Anonymous
Anonymous Child, Written in Terezin Concentration Camp
The poem is preserved in manuscript and is written in pen on a sheet of white paper together with the poem “Night in the Ghetto.”
He doesn't know the world at all
Who stays in his nest and doesn't go out.
He doesn't know what birds know best
Nor what I want to sing about,
That the world is full of loveliness.
When dewdrops sparkle in the grass
And earth's aflood with morning light,
A blackbird sings upon a bush
To greet the dawning after night.
Then I know how fine it is to live.
Hey, try to open up your heart
To beauty; go to the woods someday
And weave a wreath of memory there.
Then if tears obscure your way
You'll know how wonderful it is
To be alive.
Forgotten – Anonymous
The poem is preserved in manuscript and is written in pen on a square piece of paper torn from a notebook.
You wanton, quiet memory that haunts me all the while
In order to remind me of her whom love I send.
Perhaps when you caress me sweetly, I will smile,
You are my confidante today, my very dearest friend.
You sweet remembrance, tell a fairy tale
About my girl who’s lost and gone, you see.
Tell, tell the one about the golden grail
And call the swallow, bring her back to me.
Fly somewhere back to her and ask her, soft and low,
If she thinks of me sometimes with love,
If she is well and ask her, too, before you go
If I am still her dearest, precious dove.
And hurry back, don’t lose your way,
So I can think of other things,
But you were too lovely, perhaps, to stay.
I loved you once. Good-bye, my love!
On A Sunny Evening – 1944 Anonymous
The poem is preserved in a typewritten copy. There is the date “1944” in the upper right corner.
On a purple, sun-shot evening
Under wide-flowering chestnut trees
Upon the threshold full of dust
Yesterday, today, the days are all like these.
Trees flower forth in beauty,
Lively too their very wood all gnarled and old
That I am half afraid to peer
Into their crowns of green and gold.
The sun has made a veil of gold
So lovely that my body aches.
Above, the heavens shriek with blue
Convinced I've smiled by some mistake.
The world's abloom and seems to smile,
I want to fly but where, how high?
If in barbed wire, things can bloom
Why couldn't l? I will not die!
The Butterfly – 1942 by Pavel Friedman
The poem is preserved in typewritten copy on thin copy paper in the collection of poetry by Pavel Friedmann, which was donated to the State Jewish Museum during its documentation campaign. It is dated June 4, 1942, in the left corner. Pavel Friedmann was born on January 7, 1921, in Prague and departed to Terezin on April 26, 1942. He died in Auschwitz on September 29, 1944.
The last, the very last,
So richly, brightly, dazzlingly yellow.
Perhaps if the sun's tears would sing
against a white stone. . . .
Such, such a yellow
Is carried lightly 'way up high.
It went away I'm sure because it wished to
kiss the world good-bye.
For seven weeks I've lived in here,
Penned up inside this ghetto.
But I have found what I love here.
The dandelions call to me
And the white chestnut branches in the court.
Only I never saw another butterfly.
That butterfly was the last one.
Butterflies don't live in here,
in the ghetto.
Pavel Friedman: Friedman was a young poet, who lived in the Theresienstadt Ghetto. Little is known of the author, but he is presumed to have been 17 years old when he wrote “The Butterfly”. It was found among a hidden cache of children’s work recovered at the end of the Second World War. He was eventually deported to Auschwitz where he died on September 29, 1944.
Do Not Stand at My Grave and Weep – 1932
“Do Not Stand at My Grave and Weep” is a poem written in 1932 by Mary Elizabeth Frye. Although the origin of the poem was disputed until later in her life, Mary Frye's authorship was confirmed in 1998 after research by Abigail Van Buren, a newspaper columnist.
Do not stand at my grave and weep
I am not there. I do not sleep.
I am a thousand winds that blow.
I am the diamond glints on the snow.
I am the sunlight on ripened grain.
I am the gentle autumn rain.
When you awaken in the morning’s hush
I am the swift uplifting rush
Of quiet birds in circled flight.
I am the soft stars that shine at night.
Do not stand at my grave and cry;
I am not there. I did not die.
Nocturne noir for Piano, 2012 - MS 1544
In the night, Nocturne noir enters the mind, where dreams and motives intertwine, ever shifting between reality and fantasy. Slow awakening from a deep sleep begins with an ascending jagged scale, becoming more insistent until block chords made of the intervals of the scale lead into an agitated left hand ostinato with an octave melody soaring overhead. Serenity briefly returns with a lyrical section but is continually over ridden by agitation. The nightmare deepens with a jig fugue that begins in the lower reaches of the piano, rising dramatically upwards. All the melodic elements alternate adding to the tension until total awareness of the night abruptly wakes the consciousness in a final ascending upward passage.
In the night, Nocturne noir enters the mind, where dreams and motives intertwine, ever shifting between reality and fantasy. Slow awakening from a deep sleep begins with an ascending jagged scale, becoming more insistent until block chords made of the intervals of the scale lead into an agitated left hand ostinato with an octave melody soaring overhead. Serenity briefly returns with a lyrical section but is continually over ridden by agitation. The nightmare deepens with a jig fugue that begins in the lower reaches of the piano, rising dramatically upwards. All the melodic elements alternate adding to the tension until total awareness of the night abruptly wakes the consciousness in a final ascending upward passage.
Dorothy Parker Love Songs for Soprano, Violin and Piano, 2016 - MS 1544
An American poet, short story writer, screenwriter, satirist and critic, Dorothy Parker (1893-1967) had an unerring acuity
for commenting on twentieth-century urban peculiarities. She became renowned for her writing as in The New Yorker and as a member of the Algonquin Round Table.
Her poetry often has an ironic twist – a declaration of love in A Certain Lady that conceals the true feelings of the poet. Nocturne is a love affair that she knew would end – sooner or later. There are conflicting feelings in Love Song – on one side there is an ode to her lover, and on the flip side she wishes he were far away or worse.
I. A Certain Lady by Dorothy Parker 1926
Oh, I can smile for you, and tilt my head,
And drink your rushing words with eager lips,
And paint my mouth for you a fragrant red,
And trace your brows with tutored finger-tips.
When you rehearse your list of loves to me,
Oh, I can laugh and marvel, rapturous-eyed.
And you laugh back, nor can you ever see
The thousand little deaths my heart has died.
And you believe, so well I know my part,
That I am gay as morning, light as snow,
And all the straining things within my heart
You’ll never know.
Oh, I can laugh and listen, when we meet,
And you bring tales of fresh adventurings, --
Of ladies delicately indiscreet,
Of lingering hands, and gently whispered things.
And you are pleased with me, and strive anew
To sing me sagas of your late delights.
Thus do you want me -- marveling, gay, and true,
Nor do you see my staring eyes of nights.
And when, in search of novelty, you stray,
Oh, I can kiss you blithely as you go ....
And what goes on, my love, while you’re away,
You’ll never know.
II. Nocturne by Dorothy Parker 1926
Always I knew that it could not last
(Gathering clouds, and the snowflakes flying),
Now it is part of the golden past
(Darkening skies, and the night-wind sighing);
It is but cowardice to pretend.
Cover with ashes our love’s cold crater-
Always I’ve known that it had to end
Sooner or later.
Always I knew it would come like this
(Pattering rain, and the grasses springing),
Sweeter to you is a new love’s kiss
(Flickering sunshine, and young birds singing).
Gone are the raptures that once we knew,
Now you are finding a new joy greater-
Well, I’ll be doing the same thing, too,
Sooner or later.
III. Love Song by Dorothy Parker
My own dear love, he is strong and bold
And he cares not what comes after.
His words ring sweet as a chime of gold,
And his eyes are lit with laughter.
He is jubilant as a flag unfurled --
Oh, a girl, she’d not forget him.
My own dear love, he is all my world, --
And I wish I’d never met him.
My love, he’s mad, and my love, he’s fleet,
And a wild young wood-thing bore him!
The ways are fair to his roaming feet,
And the skies are sunlit for him.
As sharply sweet to my heart he seems
As the fragrance of acacia.
My own dear love, he is all my dreams, --
And I wish he were in Asia.
My love runs by like a day in June,
And he makes no friends of sorrows.
He’ll tread his galloping rigadoon
In the pathway of the morrows.
He’ll live his days where the sunbeams start,
Nor could storm or wind uproot him.
My own dear love, he is all my heart, --
And I wish somebody’d shoot him.
An American poet, short story writer, screenwriter, satirist and critic, Dorothy Parker (1893-1967) had an unerring acuity
for commenting on twentieth-century urban peculiarities. She became renowned for her writing as in The New Yorker and as a member of the Algonquin Round Table.
Her poetry often has an ironic twist – a declaration of love in A Certain Lady that conceals the true feelings of the poet. Nocturne is a love affair that she knew would end – sooner or later. There are conflicting feelings in Love Song – on one side there is an ode to her lover, and on the flip side she wishes he were far away or worse.
I. A Certain Lady by Dorothy Parker 1926
Oh, I can smile for you, and tilt my head,
And drink your rushing words with eager lips,
And paint my mouth for you a fragrant red,
And trace your brows with tutored finger-tips.
When you rehearse your list of loves to me,
Oh, I can laugh and marvel, rapturous-eyed.
And you laugh back, nor can you ever see
The thousand little deaths my heart has died.
And you believe, so well I know my part,
That I am gay as morning, light as snow,
And all the straining things within my heart
You’ll never know.
Oh, I can laugh and listen, when we meet,
And you bring tales of fresh adventurings, --
Of ladies delicately indiscreet,
Of lingering hands, and gently whispered things.
And you are pleased with me, and strive anew
To sing me sagas of your late delights.
Thus do you want me -- marveling, gay, and true,
Nor do you see my staring eyes of nights.
And when, in search of novelty, you stray,
Oh, I can kiss you blithely as you go ....
And what goes on, my love, while you’re away,
You’ll never know.
II. Nocturne by Dorothy Parker 1926
Always I knew that it could not last
(Gathering clouds, and the snowflakes flying),
Now it is part of the golden past
(Darkening skies, and the night-wind sighing);
It is but cowardice to pretend.
Cover with ashes our love’s cold crater-
Always I’ve known that it had to end
Sooner or later.
Always I knew it would come like this
(Pattering rain, and the grasses springing),
Sweeter to you is a new love’s kiss
(Flickering sunshine, and young birds singing).
Gone are the raptures that once we knew,
Now you are finding a new joy greater-
Well, I’ll be doing the same thing, too,
Sooner or later.
III. Love Song by Dorothy Parker
My own dear love, he is strong and bold
And he cares not what comes after.
His words ring sweet as a chime of gold,
And his eyes are lit with laughter.
He is jubilant as a flag unfurled --
Oh, a girl, she’d not forget him.
My own dear love, he is all my world, --
And I wish I’d never met him.
My love, he’s mad, and my love, he’s fleet,
And a wild young wood-thing bore him!
The ways are fair to his roaming feet,
And the skies are sunlit for him.
As sharply sweet to my heart he seems
As the fragrance of acacia.
My own dear love, he is all my dreams, --
And I wish he were in Asia.
My love runs by like a day in June,
And he makes no friends of sorrows.
He’ll tread his galloping rigadoon
In the pathway of the morrows.
He’ll live his days where the sunbeams start,
Nor could storm or wind uproot him.
My own dear love, he is all my heart, --
And I wish somebody’d shoot him.
Harriet’s Story for Soprano, Violin and Piano, 2013 - MS 1259
Harriet’s Story was inspired by the life of Harriet and Dred Scott whose legal struggles to obtain their freedom helped catapult the nation into the Civil War. The lyrics to the first two movements were created in the voice of Harriet and the quotes of Harriet Tubman’s were used in the third movement. Lyrics and Music by Barbara Harbach.
I. Frontier Slave
No rights, no rights. We have no rights.
No rights, no rights. We have no rights.
II. No Reason to Learn
No reason to learn, No sense to learn,
Says the master to the slaves.
III. Sister Harriet Tubman – Lyrics by Harriet Tubman
I had crossed the line, I was free;
but there was no one to welcome me
To the land of freedom,
I was a stranger in a strange land.
Click to view I. Frontier Slave
Click to view II. No Reason to Learn
Click to view III. Sister Harriet Tubman
Harriet’s Story was inspired by the life of Harriet and Dred Scott whose legal struggles to obtain their freedom helped catapult the nation into the Civil War. The lyrics to the first two movements were created in the voice of Harriet and the quotes of Harriet Tubman’s were used in the third movement. Lyrics and Music by Barbara Harbach.
I. Frontier Slave
No rights, no rights. We have no rights.
No rights, no rights. We have no rights.
II. No Reason to Learn
No reason to learn, No sense to learn,
Says the master to the slaves.
III. Sister Harriet Tubman – Lyrics by Harriet Tubman
I had crossed the line, I was free;
but there was no one to welcome me
To the land of freedom,
I was a stranger in a strange land.
Click to view I. Frontier Slave
Click to view II. No Reason to Learn
Click to view III. Sister Harriet Tubman
Phantom of the Dreams’ Origin for Chamber Ensemble, 2013 - MS 1259
Phantom of the Dreams’ Origin for chamber ensemble sets to music a selection of prose poems from Andreas Embirikos’ 1935 masterpiece Blast Furnace, which Nikos Stabakis translated into English in his anthology Surrealism in Greece [University of Texas Press, 2008]. The work is divided into eight movements, each named after a phrase from Stabakis’ translation of Embirikos. The score is dramatically percussive throughout, with musical features calling for glockenspiel, castanets, triangle, bell tree, crotales, timpani and suspended cymbals.
Click to view I. Procession
Click to view II. Lamentation
Click to view III. Semaphores
Click to view IV. Desolation
Click to view V. Deprived
Click to view VI. Tranquility
Click to view VII. Polyhedral bell
Click to view VIII. Spinning Mill of Nocturnal Repose
Phantom of the Dreams’ Origin for chamber ensemble sets to music a selection of prose poems from Andreas Embirikos’ 1935 masterpiece Blast Furnace, which Nikos Stabakis translated into English in his anthology Surrealism in Greece [University of Texas Press, 2008]. The work is divided into eight movements, each named after a phrase from Stabakis’ translation of Embirikos. The score is dramatically percussive throughout, with musical features calling for glockenspiel, castanets, triangle, bell tree, crotales, timpani and suspended cymbals.
Click to view I. Procession
Click to view II. Lamentation
Click to view III. Semaphores
Click to view IV. Desolation
Click to view V. Deprived
Click to view VI. Tranquility
Click to view VII. Polyhedral bell
Click to view VIII. Spinning Mill of Nocturnal Repose
Incantata for Chamber Ensemble, Vivace Press, 2013 - MS 1259
Incantata for Chamber Ensemble was inspired by Paul Muldoon’s poem, Incantata, written in memory of the artist Mary Farl Powers. The poem, published in The Annals of Chile (1994), is both an elegy and a celebration. It was premiered October 30, 2011, at the Touhill Performing Incantata for Chamber Ensemble (2011) was inspired by Paul Muldoon’s poem, Incantata, written in memory of the artist Mary Farl Powers. The poem is both an elegy and a celebration. Commissioned by Poetry Scores (a St. Louis-based arts organization that re-interprets poetry in other media), Incantata was premiered in October 2011 at the Touhill Performing Arts Center, University of Missouri at St. Louis. Harbach was drawn to the many feelings and emotions expressed in the poem: the cry of heartbreak and enduring love; humor and pathos; allusions to music, literature and art; and liquor and food.
The first movement, Perplexities, portrays the power of nature, and the power of the world. Nocturne opens with night sounds, strange and luminous twitters and chirps from the dark of night eerily portrayed by the woodwinds over open fifths in the strings. Ireland Remembered opens with a jig-like rendition of The Humors of Whiskey, the trumpet and horn, eager to enter the discussion, begin with the Liverpool Hornpipe. Next, the clarinet is insistent on playing its own tune, Banshee, now accompanied by the Liverpool Hornpipe. A more somber and poignant air opens with the viola, For Ireland, I’d Not Tell her Name, and generates its own counter melody. Bitter-Sweet rails against the inevitable before acquiescing, while moments of tenderness lead to the eventual wholeness of spirit. The final Coda comments on the dramatic forces that shape lives.
Click to view I. Perplexities
Click to view II. Nocturne
Click to view III. Ireland Remembered
Click to view IV. Bitter-Sweet
Click to view V. Coda
Incantata for Chamber Ensemble was inspired by Paul Muldoon’s poem, Incantata, written in memory of the artist Mary Farl Powers. The poem, published in The Annals of Chile (1994), is both an elegy and a celebration. It was premiered October 30, 2011, at the Touhill Performing Incantata for Chamber Ensemble (2011) was inspired by Paul Muldoon’s poem, Incantata, written in memory of the artist Mary Farl Powers. The poem is both an elegy and a celebration. Commissioned by Poetry Scores (a St. Louis-based arts organization that re-interprets poetry in other media), Incantata was premiered in October 2011 at the Touhill Performing Arts Center, University of Missouri at St. Louis. Harbach was drawn to the many feelings and emotions expressed in the poem: the cry of heartbreak and enduring love; humor and pathos; allusions to music, literature and art; and liquor and food.
The first movement, Perplexities, portrays the power of nature, and the power of the world. Nocturne opens with night sounds, strange and luminous twitters and chirps from the dark of night eerily portrayed by the woodwinds over open fifths in the strings. Ireland Remembered opens with a jig-like rendition of The Humors of Whiskey, the trumpet and horn, eager to enter the discussion, begin with the Liverpool Hornpipe. Next, the clarinet is insistent on playing its own tune, Banshee, now accompanied by the Liverpool Hornpipe. A more somber and poignant air opens with the viola, For Ireland, I’d Not Tell her Name, and generates its own counter melody. Bitter-Sweet rails against the inevitable before acquiescing, while moments of tenderness lead to the eventual wholeness of spirit. The final Coda comments on the dramatic forces that shape lives.
Click to view I. Perplexities
Click to view II. Nocturne
Click to view III. Ireland Remembered
Click to view IV. Bitter-Sweet
Click to view V. Coda
Fanfare for Grand Center for Brass Quintet, Art of Sound Music, 2013
Fanfare for Grand Center for Brass Quintet by Barbara Harbach was commissioned by St. Louis Public Radio and the University of Missouri-St. Louis for the opening of UMSL at Grand Center, September 14, 2012. Fanfare for Grand Center is an exuberant celebration for brass with triumphant rising themes and exciting rhythms that provide an exhilarating nobility and resonance that welcomes the new partnership between UMSL and Grand Center.
Click to view Fanfare for Grand Center
Fanfare for Grand Center for Brass Quintet by Barbara Harbach was commissioned by St. Louis Public Radio and the University of Missouri-St. Louis for the opening of UMSL at Grand Center, September 14, 2012. Fanfare for Grand Center is an exuberant celebration for brass with triumphant rising themes and exciting rhythms that provide an exhilarating nobility and resonance that welcomes the new partnership between UMSL and Grand Center.
Click to view Fanfare for Grand Center
Sounds of St. Louis – a Suite in One Movement, Art of Sound Music,
2013 - MS 1259
Commissioned by the St. Louis Low Brass Collective. The Sounds of St. Louis incorporates and combines original fugues and melodies with the popular Civil War song, Missouri! Missouri! Bright Land of the West!, the wistful folksong, Shenandoah (Away, I'm bound away ‘cross the wide Missouri), and the St. Louis Blues, an American popular song written by W.C. Handy.
Click to view Sounds of St. Louis
2013 - MS 1259
Commissioned by the St. Louis Low Brass Collective. The Sounds of St. Louis incorporates and combines original fugues and melodies with the popular Civil War song, Missouri! Missouri! Bright Land of the West!, the wistful folksong, Shenandoah (Away, I'm bound away ‘cross the wide Missouri), and the St. Louis Blues, an American popular song written by W.C. Handy.
Click to view Sounds of St. Louis
Light Out of Darkness for Women’s Choir and Piano, or Soprano and Piano,
2011 - MS 1256
Light Out of Darkness for Soprano and Piano (2005)
Helen Keller (1880-1968) wrote, “ I cannot remember how I felt when the light went out of my eyes. I suppose I felt it was always night and perhaps I wondered why the day did not come.” The extraordinary story of the life of Helen Keller resonates in all of us. After a childhood fever, Helen became blind and deaf at the age of nineteen months. Only through the patience and great empathy of Anne Sullivan did Helen begin to develop her potential as a creative, articulate and intelligent woman.
Light Out of Darkness is taken from Helen Keller’s own words from A Chant of Darkness and The World I Live In (1908). The voices float over the piano accompaniment and the words express a wise and wonderful blending of the senses. The song is in four short sections, each with a slightly different character. My Fingers are Wise has a descending lyrical melody that portrays some of the poignant realities of Keller’s world. My Fingers Split the Sand evokes the joy and playfulness of “the rippling music of the sea.” In the Realms of Wonder Where I Dwell recalls the mood of the opening, but also some of the strong soaring spirit of the poet. The final section reprises the first.
My fingers are wise.
They snatch light out of darkness.
They thrill to harmonies breathed in silence.
Click to view Light Out of Darkness
2011 - MS 1256
Light Out of Darkness for Soprano and Piano (2005)
Helen Keller (1880-1968) wrote, “ I cannot remember how I felt when the light went out of my eyes. I suppose I felt it was always night and perhaps I wondered why the day did not come.” The extraordinary story of the life of Helen Keller resonates in all of us. After a childhood fever, Helen became blind and deaf at the age of nineteen months. Only through the patience and great empathy of Anne Sullivan did Helen begin to develop her potential as a creative, articulate and intelligent woman.
Light Out of Darkness is taken from Helen Keller’s own words from A Chant of Darkness and The World I Live In (1908). The voices float over the piano accompaniment and the words express a wise and wonderful blending of the senses. The song is in four short sections, each with a slightly different character. My Fingers are Wise has a descending lyrical melody that portrays some of the poignant realities of Keller’s world. My Fingers Split the Sand evokes the joy and playfulness of “the rippling music of the sea.” In the Realms of Wonder Where I Dwell recalls the mood of the opening, but also some of the strong soaring spirit of the poet. The final section reprises the first.
My fingers are wise.
They snatch light out of darkness.
They thrill to harmonies breathed in silence.
Click to view Light Out of Darkness
Echoes from Tomorrow for Chamber Ensemble, 2008 - MS 1255
Echoes from Tomorrow was inspired by Adolf Merei's silent film, Simon Judit (Judith Simon; 1915), based on the nineteenth-century ballad by Jewish poet Jozsef Kiss. The movements reflect life's passages from youthful Anticipation to the many difficult and often poignant Choices we face as we mature. Life is full of Transitions from childhood to young adult to Remembrances, often the comfort we have left. Echoes from Tomorrow is written for Flute, Clarinet, Bassoon, Piano, Violin, Viola and Cello.
Click to view 1. Anticipations
Click to view 2. Choices
Click to view 3. Transitions
Click to view 4. Remembrances
Echoes from Tomorrow was inspired by Adolf Merei's silent film, Simon Judit (Judith Simon; 1915), based on the nineteenth-century ballad by Jewish poet Jozsef Kiss. The movements reflect life's passages from youthful Anticipation to the many difficult and often poignant Choices we face as we mature. Life is full of Transitions from childhood to young adult to Remembrances, often the comfort we have left. Echoes from Tomorrow is written for Flute, Clarinet, Bassoon, Piano, Violin, Viola and Cello.
Click to view 1. Anticipations
Click to view 2. Choices
Click to view 3. Transitions
Click to view 4. Remembrances
America, the Promised Land for SATB, 3 Trumpets, Snares and Piano, 2008
A rousing and moving patriotic tribute to America featuring the entire SATB choir, with three trumpets, snare drums and piano with verses for men’s chorus, women’s chorus and an interlude for the instruments.
Click to view American, the Promised Land
A rousing and moving patriotic tribute to America featuring the entire SATB choir, with three trumpets, snare drums and piano with verses for men’s chorus, women’s chorus and an interlude for the instruments.
Click to view American, the Promised Land
A Love Supreme for SSAA, Woodwind Quintet and Piano, 2008
Cheryl Walker’s beautiful poem, A Love Supreme, provides the inspiration and text for this composition for women's voices. Walker’s evocative words create several diverse sections that weave in and out of each other often returning with more intensity. A plain chant for solo voice sets the tone for “ A love supreme sanctified and pure,” and reminds us through music of the joy of unconditional love. The chant returns, each time higher and more ecstatic. The woodwinds introduce the soaring lyricism of “Anointed by Holy Ghost’s healing.” The gently lilting section in combinations of 6/8 and 12/8 meters underlay “She is sanctified and free, on a blues-licked freedom voyage.” This is followed by a syncopated and rhythmic section for “Fervently awaiting a laying on hands.” A fugal rendition for voices based on the familiar hymn, Amazing Grace, portrays “She’s there in an amazing grace circle, how sweet the sound.” A joyous fugue for the winds follows, also based on Amazing Grace. Several themes return briefly before the circle is completed with the beginning words “A love supreme sanctified and pure” and the final refrain, “Her liberation is at hand.”
Click to view A Love Supreme
Cheryl Walker’s beautiful poem, A Love Supreme, provides the inspiration and text for this composition for women's voices. Walker’s evocative words create several diverse sections that weave in and out of each other often returning with more intensity. A plain chant for solo voice sets the tone for “ A love supreme sanctified and pure,” and reminds us through music of the joy of unconditional love. The chant returns, each time higher and more ecstatic. The woodwinds introduce the soaring lyricism of “Anointed by Holy Ghost’s healing.” The gently lilting section in combinations of 6/8 and 12/8 meters underlay “She is sanctified and free, on a blues-licked freedom voyage.” This is followed by a syncopated and rhythmic section for “Fervently awaiting a laying on hands.” A fugal rendition for voices based on the familiar hymn, Amazing Grace, portrays “She’s there in an amazing grace circle, how sweet the sound.” A joyous fugue for the winds follows, also based on Amazing Grace. Several themes return briefly before the circle is completed with the beginning words “A love supreme sanctified and pure” and the final refrain, “Her liberation is at hand.”
Click to view A Love Supreme
Confluencity for Bassoon and Piano, 2008
Confluencity for Bassoon and Piano begins as a fantasy-rhapsody followed by a playful imitative section where bassoon meets piano, intermingles, and then go its separate way. A calm theme enters, reminiscent of the tunes from the Sacred Harp, and provides the canvas for a brief allusion to the haunting tune, Simple Gifts. Following a short cadenza for bassoon, a bravura toccata brings the piece to a close.
Click to view Confluencity
Confluencity for Bassoon and Piano begins as a fantasy-rhapsody followed by a playful imitative section where bassoon meets piano, intermingles, and then go its separate way. A calm theme enters, reminiscent of the tunes from the Sacred Harp, and provides the canvas for a brief allusion to the haunting tune, Simple Gifts. Following a short cadenza for bassoon, a bravura toccata brings the piece to a close.
Click to view Confluencity
Lilia Polka for Woodwind Quintet, 2007 - MS 1255
Kate Chopin (1850-1904) wrote Lilia Polka for piano for her daughter which was published by H. H. Rollman in St. Louis. Polkas were quite popular in the German and German-American communities in St. Louis in 1899. Lilia Polka is a lively, spirited polka showcasing each instrument in the woodwind quintet.
Clickb to view Lilia Polka
Kate Chopin (1850-1904) wrote Lilia Polka for piano for her daughter which was published by H. H. Rollman in St. Louis. Polkas were quite popular in the German and German-American communities in St. Louis in 1899. Lilia Polka is a lively, spirited polka showcasing each instrument in the woodwind quintet.
Clickb to view Lilia Polka
Freeing the Caged Bird for Woodwind Quintet, 2007 - MS 1255
Freeing the Caged Bird is a four-movement tribute inspired by the literary works of four native St. Louis women who struggled to give voice to their creativity. The first movement is based on the book I Know Why the Caged Bird Sings , by Maya Angelou, who is regarded as one of the great voices of contemporary literature. Inspired by Sara Teasdale's poem “Sunset St. Louis” the second movement evokes the swirling, twilight imagery of her poem. The third movement represents Kate Chopin’s then notorious novel The Awakening, first published in 1899. The last movement, based on Emily Hahn’s book, Hong Kong Holiday, expresses the joie de vivre of a woman who refused to accept society’s dictums.
Click to view 1. Maya Angelou
Click to view 2. Sara Teasdale
Click to view 3. Kate Chopin
Click to view 4. Emily Hahn
Freeing the Caged Bird is a four-movement tribute inspired by the literary works of four native St. Louis women who struggled to give voice to their creativity. The first movement is based on the book I Know Why the Caged Bird Sings , by Maya Angelou, who is regarded as one of the great voices of contemporary literature. Inspired by Sara Teasdale's poem “Sunset St. Louis” the second movement evokes the swirling, twilight imagery of her poem. The third movement represents Kate Chopin’s then notorious novel The Awakening, first published in 1899. The last movement, based on Emily Hahn’s book, Hong Kong Holiday, expresses the joie de vivre of a woman who refused to accept society’s dictums.
Click to view 1. Maya Angelou
Click to view 2. Sara Teasdale
Click to view 3. Kate Chopin
Click to view 4. Emily Hahn
Emily! for Soprano, Trumpet and Piano, Art of Sound Music, 2007 - MS 1256
Emily!for Soprano, Eb or Bb Trumpet and Piano is in three movements, based on the poetry of the great American poet, Emily Dickinson (1830-1886) . The first movement, I Taste a Liquor Never Brewed, portrays a mystical state of experiencing the soul’s awareness, an awareness that is so overwhelmingly uplifting that she feels as if she had become intoxicated by drinking alcohol. The second movement, If You Were Coming in the Fall, is about love, time and separation, and addressed to someone who is away. The third movement, based on two poems Wild Nights! Wild Nights! and For Each Ecstatic Instant. Wild Nights! Wild Nights! is a poem of unrestrained passion and rapture. For Each Ecstatic Instant describes a relationship of joy and pain, and joy is inevitably paid for by suffering – joy is brief but the resulting pain lasts. The soprano, trumpet and piano intermingle and weave the melodies, each an integral part of the whole, forming a true trio.
Click to view 1. I Taste a Liquor Never Brewed
Click to view 2. If You Were Coming in the Fall
Click to view 3. Wild Nights! Wild Nights!
Emily!for Soprano, Eb or Bb Trumpet and Piano is in three movements, based on the poetry of the great American poet, Emily Dickinson (1830-1886) . The first movement, I Taste a Liquor Never Brewed, portrays a mystical state of experiencing the soul’s awareness, an awareness that is so overwhelmingly uplifting that she feels as if she had become intoxicated by drinking alcohol. The second movement, If You Were Coming in the Fall, is about love, time and separation, and addressed to someone who is away. The third movement, based on two poems Wild Nights! Wild Nights! and For Each Ecstatic Instant. Wild Nights! Wild Nights! is a poem of unrestrained passion and rapture. For Each Ecstatic Instant describes a relationship of joy and pain, and joy is inevitably paid for by suffering – joy is brief but the resulting pain lasts. The soprano, trumpet and piano intermingle and weave the melodies, each an integral part of the whole, forming a true trio.
Click to view 1. I Taste a Liquor Never Brewed
Click to view 2. If You Were Coming in the Fall
Click to view 3. Wild Nights! Wild Nights!
Abigail! for Soprano and Chamber Ensemble, 2007 - MS 1256
(Flute, Clarinet/Bass Clarinet, Bassoon, Harp, Violin, Viola and Cello)
Abigail Smith Adams inherited New England’s strongest traditions, and what she lacked in formal education her keen intelligence and curiosity molded her into a formidable woman: farm manager, financial manager, letter writer, political advisor, diplomatic wife and First Lady. Her letters to John Adams, pungent, colorful and witty detail her life in times of the American Revolution. As an intellectually open-minded woman of her day, Abigail's ideas on women's rights, education, equal rights and the government would eventually play a role in the founding of the United States. Her marriage to John was a marriage of the mind and of the heart, lasting more than half a century, deeply enriched by time.
I. Miss Adorable:The lyrics for Abigail are taken from the letters that Abigail and John wrote to each other in 1762. John Adams called his Abigail, Miss Adorable, and the first movement capturse the effervescence and the dreams and hopes of young love.
II. Lady Adams: In 1776, Abigail wrote to John, “But if we mean to have heroes, statesmen and philosophers, we should have learned women.” Lady Adams tells Abigail’s views on education.
III. Remember the Ladies: In Remember the Ladies, Abigail expresses her hope for equal treatment of women. In letters to John in 1776, she writes him, “For, if man is Lord, woman is Lordess.”
IV. My Heart is Light: In My Heart is Light at the end of her life, Abigail tells John that she is sorry that she must leave her “dearest friend” and “please remember me with tenderest affection.”
Click to view I. Miss Adorable
Click to view II. Lady Adams
Click to view III. Remember the Ladies
Click to view IV. My Heart is Light
(Flute, Clarinet/Bass Clarinet, Bassoon, Harp, Violin, Viola and Cello)
Abigail Smith Adams inherited New England’s strongest traditions, and what she lacked in formal education her keen intelligence and curiosity molded her into a formidable woman: farm manager, financial manager, letter writer, political advisor, diplomatic wife and First Lady. Her letters to John Adams, pungent, colorful and witty detail her life in times of the American Revolution. As an intellectually open-minded woman of her day, Abigail's ideas on women's rights, education, equal rights and the government would eventually play a role in the founding of the United States. Her marriage to John was a marriage of the mind and of the heart, lasting more than half a century, deeply enriched by time.
I. Miss Adorable:The lyrics for Abigail are taken from the letters that Abigail and John wrote to each other in 1762. John Adams called his Abigail, Miss Adorable, and the first movement capturse the effervescence and the dreams and hopes of young love.
II. Lady Adams: In 1776, Abigail wrote to John, “But if we mean to have heroes, statesmen and philosophers, we should have learned women.” Lady Adams tells Abigail’s views on education.
III. Remember the Ladies: In Remember the Ladies, Abigail expresses her hope for equal treatment of women. In letters to John in 1776, she writes him, “For, if man is Lord, woman is Lordess.”
IV. My Heart is Light: In My Heart is Light at the end of her life, Abigail tells John that she is sorry that she must leave her “dearest friend” and “please remember me with tenderest affection.”
Click to view I. Miss Adorable
Click to view II. Lady Adams
Click to view III. Remember the Ladies
Click to view IV. My Heart is Light
Carondolet Caprice for Chamber Ensemble, 2007 - MS 1253
Carondelet Caprice for Chamber Ensemble was inspired by pioneer American director Lois Weber’s 1913 silent film How Men Propose. The moods and themes range from vibrant to nostalgic and feature a distinctly American idiom. The whimsical interaction between the instruments reflects the engaging nature of Weber’s film. Carondelet Caprice is written for flute, clarinet in B-flat, piano, violin, viola and violoncello.
Click to view Carondolet Caprice
Carondelet Caprice for Chamber Ensemble was inspired by pioneer American director Lois Weber’s 1913 silent film How Men Propose. The moods and themes range from vibrant to nostalgic and feature a distinctly American idiom. The whimsical interaction between the instruments reflects the engaging nature of Weber’s film. Carondelet Caprice is written for flute, clarinet in B-flat, piano, violin, viola and violoncello.
Click to view Carondolet Caprice
God Bless Your Church with Strength! for SATB, Trumpet and Organ, 2007
God Bless Your Church with Strength! is a joyous anthem for choir, trumpet and organ, based on the three hymns, St. Thomas, Festal Song and Heath.
Click to view God Bless Your Church with Strength
God Bless Your Church with Strength! is a joyous anthem for choir, trumpet and organ, based on the three hymns, St. Thomas, Festal Song and Heath.
Click to view God Bless Your Church with Strength
Fantasy and Fugue on "Swing Low' for Woodwind Quintet, 2006 - MS 1253
A woodwind quintet setting of one of America’s most popular spirituals. The dramatic fantasy section includes a lyrical rendition of the melody; this is followed by a lively fugue.
Click to view Fantasy and Fugue on "Swing Low"
A woodwind quintet setting of one of America’s most popular spirituals. The dramatic fantasy section includes a lyrical rendition of the melody; this is followed by a lively fugue.
Click to view Fantasy and Fugue on "Swing Low"
Pleasure Flow, Tender Mist for Soprano and Piano, 2006 - MS 1256
Pleasure Flow, Tender Mist was written in 2003. This song cycle for soprano creates a gently stirring atmosphere that draws on the simple but pleasing lyrics. Each movement is distinct in its affect and harmonic structure, yet together form a flowing organic whole. The moods range from gently nostalgic to playful.
Click to view I. Wind
Click to view II. Tend
Click to view III. Mist
Click to view IV. In the Calm in the Cool
Click to view V. Pleasure is Flow
Pleasure Flow, Tender Mist was written in 2003. This song cycle for soprano creates a gently stirring atmosphere that draws on the simple but pleasing lyrics. Each movement is distinct in its affect and harmonic structure, yet together form a flowing organic whole. The moods range from gently nostalgic to playful.
Click to view I. Wind
Click to view II. Tend
Click to view III. Mist
Click to view IV. In the Calm in the Cool
Click to view V. Pleasure is Flow
Separately Together: Synesthesia for Chamber Ensemble, 2006 - MS 1253
Separately Together, a five-movement work for chamber ensemble, was inspired by pioneer director Alice Guy Blanche’s 1913 silent film A House Divided. The piece explores a variety of emotions and atmospheres that reflect the sensory images of the film. The instruments form an integrated tapestry of sound yet retain their separate colors. Separately Together is written for flute, clarinet in B-flat, piano, violin, viola and violoncello.
I. Lilting Lines – Careening Melodies
II. Spattering Notes
III. Dancing Rhythms
IV. Lyrical Re-vision
V. Crescendo of Colors
Click to view I. Lilting lines - Careening Melodies
Click to view II. Spattering Notes
Click to view III. Dancing Rhythms
Click to view IV. Lyrical Re-vision
Click to view V. Crescendo of Colors
Separately Together, a five-movement work for chamber ensemble, was inspired by pioneer director Alice Guy Blanche’s 1913 silent film A House Divided. The piece explores a variety of emotions and atmospheres that reflect the sensory images of the film. The instruments form an integrated tapestry of sound yet retain their separate colors. Separately Together is written for flute, clarinet in B-flat, piano, violin, viola and violoncello.
I. Lilting Lines – Careening Melodies
II. Spattering Notes
III. Dancing Rhythms
IV. Lyrical Re-vision
V. Crescendo of Colors
Click to view I. Lilting lines - Careening Melodies
Click to view II. Spattering Notes
Click to view III. Dancing Rhythms
Click to view IV. Lyrical Re-vision
Click to view V. Crescendo of Colors
American Solstice for Chamber Ensemble, 2006 - MS 1253
American Solstice is loosely based on an original fiddle tune that captures something of the flavor and independence of the American frontier spirit. The second theme reflects the influence of the American hymn collection known as The Sacred Harp, yet it features unexpected harmonies and yearning melodic lines. This is followed by a sprightly section of playful imitation and canon. The three themes develop and interweave, with an extended fugue built on the fiddle tune that culminates in an exhilarating crowning statement. American Solstice is written for flute, clarinet in B-flat, piano, 2 violins I, 2 violins II, 2 violas, 2 violoncelli, and doublebass.
Click to view American Solstice
American Solstice is loosely based on an original fiddle tune that captures something of the flavor and independence of the American frontier spirit. The second theme reflects the influence of the American hymn collection known as The Sacred Harp, yet it features unexpected harmonies and yearning melodic lines. This is followed by a sprightly section of playful imitation and canon. The three themes develop and interweave, with an extended fugue built on the fiddle tune that culminates in an exhilarating crowning statement. American Solstice is written for flute, clarinet in B-flat, piano, 2 violins I, 2 violins II, 2 violas, 2 violoncelli, and doublebass.
Click to view American Solstice
Transformations for String Quartet, 2006 - MS 1253
I. Pastorale • II. Towards Liberty • III. Re-strain • IV. Commandment • V. For Life • VI. One Out of Many • VII. Profit • VIII. Return This eight-movement work for string quartet was inspired by pioneer director Alice Guy Blache's 1912 silent film Making an American Citizen. The moods range from nostalgia to agitation to resolution. This haunting score captures a vein of folk America and utilizes the distinctive voice of each instrument.
Click to view I. Pastorale
Click to view II. Towards Liberty
Click to view III. Re-strain
Click to view IV. Commandment
Click to view V. For Life
Click to view VI. One Out of Many
Click to view VII. Profit
Click to view VIII. Return
I. Pastorale • II. Towards Liberty • III. Re-strain • IV. Commandment • V. For Life • VI. One Out of Many • VII. Profit • VIII. Return This eight-movement work for string quartet was inspired by pioneer director Alice Guy Blache's 1912 silent film Making an American Citizen. The moods range from nostalgia to agitation to resolution. This haunting score captures a vein of folk America and utilizes the distinctive voice of each instrument.
Click to view I. Pastorale
Click to view II. Towards Liberty
Click to view III. Re-strain
Click to view IV. Commandment
Click to view V. For Life
Click to view VI. One Out of Many
Click to view VII. Profit
Click to view VIII. Return
Forces at Play for Chamber Ensemble, 2005 - MS 1253
Forces at Play was conceived as a modern ballet or a landscaped musical journey conveyed through dance. The distinctive voice of each instrument weaves and interacts, collides, dances and floats through time and space. Forces at Play is written for flute/piccolo, clarinet in B-flat, violin, viola, cello, and percussion.
Click to view Forces at Play
Forces at Play was conceived as a modern ballet or a landscaped musical journey conveyed through dance. The distinctive voice of each instrument weaves and interacts, collides, dances and floats through time and space. Forces at Play is written for flute/piccolo, clarinet in B-flat, violin, viola, cello, and percussion.
Click to view Forces at Play
A Morning Trumpet for Organ and Oboe, 2005
A Morning Trumpet is based upon five early American hymns from the Sacred Harp: “The Morning Trumpet”, “Morning Hymn”, “Come Away to the Skies”, “How Firm a Foundation” and “Swing Low, Sweet Chariot”, entwined in the interplay between the organ, that “great beast that never breathes” and the oboe, “an ill-wind no one blows good”.
Click to view A Morning Trumpet
A Morning Trumpet is based upon five early American hymns from the Sacred Harp: “The Morning Trumpet”, “Morning Hymn”, “Come Away to the Skies”, “How Firm a Foundation” and “Swing Low, Sweet Chariot”, entwined in the interplay between the organ, that “great beast that never breathes” and the oboe, “an ill-wind no one blows good”.
Click to view A Morning Trumpet
Rustic Scene for Viola and Piano, 2005 - MS 1257
Rustic Scene for Viola and Piano evokes the quintessentially American frontier character and spirit. Viola and piano imitate, chase, and call out to the other as they explore the full range and dynamic possibilities of both instruments. Folk-like melodies, harmonies built on fourths, dissonances of rubbing seconds, clashing sevenths, and devilish fourths (diabolous in musica) give color to the dialogues, vividly evoking a landscape full of lush harmonies and exotic melodic perfumes, a musical vista of resonant colors and aromatic counterpoint.
Click to view Rustic Scene
Rustic Scene for Viola and Piano evokes the quintessentially American frontier character and spirit. Viola and piano imitate, chase, and call out to the other as they explore the full range and dynamic possibilities of both instruments. Folk-like melodies, harmonies built on fourths, dissonances of rubbing seconds, clashing sevenths, and devilish fourths (diabolous in musica) give color to the dialogues, vividly evoking a landscape full of lush harmonies and exotic melodic perfumes, a musical vista of resonant colors and aromatic counterpoint.
Click to view Rustic Scene
Emanations of the Sacred Harp for Cello and Piano, 2004 - MS 1257
The first movement, Morning Fantasy, is an eloquent fantasy beginning and ending with a quasi-improvisatory setting for the central hymn tune “The Morning Trumpet.” The second movement, Reeling Chester, begins with an introductory fragment and then a complete statement of “Chester” in the cello, clothed in a polyphonic texture in the piano and evoking the energy and drive of the early New England style. The counterpoint then becomes the subject of a vintage Harbach fugue that weaves “Chester” into its fabric along with another fugue, reels and more hymns.
Click to view I. The Morning Trumpet
Click to view II. Reeling Chester
The first movement, Morning Fantasy, is an eloquent fantasy beginning and ending with a quasi-improvisatory setting for the central hymn tune “The Morning Trumpet.” The second movement, Reeling Chester, begins with an introductory fragment and then a complete statement of “Chester” in the cello, clothed in a polyphonic texture in the piano and evoking the energy and drive of the early New England style. The counterpoint then becomes the subject of a vintage Harbach fugue that weaves “Chester” into its fabric along with another fugue, reels and more hymns.
Click to view I. The Morning Trumpet
Click to view II. Reeling Chester
Perambulations for Trumpet and Piano, 2004 - MS 1257
Perambulations for Trumpet and Piano showcases the lyric possibilities and rhythmic energy of the trumpet. It opens with a blues-tinged melodic theme before moving to a bright Vivace toccata in the piano with emphatic chords and considerable interplay between the two instruments. Development of each theme is followed by a playfully relaxed trumpet cadenza before joining with the piano for a bravura finish.
Click to view Perambulations
Perambulations for Trumpet and Piano showcases the lyric possibilities and rhythmic energy of the trumpet. It opens with a blues-tinged melodic theme before moving to a bright Vivace toccata in the piano with emphatic chords and considerable interplay between the two instruments. Development of each theme is followed by a playfully relaxed trumpet cadenza before joining with the piano for a bravura finish.
Click to view Perambulations
Rhapsody Ritmico for Brass Quintet, 2004 - MS 1253
Rhapsody Ritmico for Brass Quintet opens majestically with fanfare punctuations. The second section is a gently lilting lullaby with imitation in the upper brasses and a melodic and rhythmic ostinato in the lower brasses. The horn introduces a merry fugue subject, and then each instrument joins the frolic. The various themes and sections are richly interwoven before a dramatic final flourish.
Click to view Rhapsody Ritmico
Rhapsody Ritmico for Brass Quintet opens majestically with fanfare punctuations. The second section is a gently lilting lullaby with imitation in the upper brasses and a melodic and rhythmic ostinato in the lower brasses. The horn introduces a merry fugue subject, and then each instrument joins the frolic. The various themes and sections are richly interwoven before a dramatic final flourish.
Click to view Rhapsody Ritmico
American Dialogues for Flute and Piano, 2004 - MS 1257
American Dialogues for Flute and Piano evokes the quintessentially American frontier character and spirit. Flute and piano imitate, chase, and call out to the other as they explore the full range and dynamic possibilities of both instruments. Folk-like melodies, harmonies built on fourths, dissonances of rubbing seconds, clashing sevenths, and devilish fourths (diabolous in musica) give color to the dialogues. The musical terrain includes calm, quiet conversations, ecstatic dancing, and fiery musical competition before settling on a common vision.
Click to view American Dialogues
American Dialogues for Flute and Piano evokes the quintessentially American frontier character and spirit. Flute and piano imitate, chase, and call out to the other as they explore the full range and dynamic possibilities of both instruments. Folk-like melodies, harmonies built on fourths, dissonances of rubbing seconds, clashing sevenths, and devilish fourths (diabolous in musica) give color to the dialogues. The musical terrain includes calm, quiet conversations, ecstatic dancing, and fiery musical competition before settling on a common vision.
Click to view American Dialogues
Four Dances for Two for Oboe and Violin, 2004 - MS 1257
Rococo Promenade • Afternoon Divertimento • Get Reel • Holiday Glide Rococo Promenade is based on the Baroque French overture style with a galloping fugal middle section before a return to the jaggedly dotted style of the beginning. Afternoon Divertimento alternates a calm, lullaby-like mood with bursts of frenzied energy typical of a weekend afternoon. Get Reel portrays a whimsically reeling, roiling, reel (really!) with rapid and smoothly flowing figures. Holiday Glide features clockwork precision interpolated with slides and glides and glissandi.
Click to view I. Rococo Promenade
Click to view II. Afternoon Divertimento
Click to view III. Get Reel
Click to view IV. Holiday Glide
Rococo Promenade • Afternoon Divertimento • Get Reel • Holiday Glide Rococo Promenade is based on the Baroque French overture style with a galloping fugal middle section before a return to the jaggedly dotted style of the beginning. Afternoon Divertimento alternates a calm, lullaby-like mood with bursts of frenzied energy typical of a weekend afternoon. Get Reel portrays a whimsically reeling, roiling, reel (really!) with rapid and smoothly flowing figures. Holiday Glide features clockwork precision interpolated with slides and glides and glissandi.
Click to view I. Rococo Promenade
Click to view II. Afternoon Divertimento
Click to view III. Get Reel
Click to view IV. Holiday Glide
Cherish-Caress for Soprano and Violoncello, 2002 - MS 1256
Cherish - Caress is a lyrical duet for soprano and cello. It is based on a warm and playful treatment of the etymology of charity. Barbara Harbach transforms these lyrics into a searchingly beautiful lullaby.
Click to view Cherish-Caress
Cherish - Caress is a lyrical duet for soprano and cello. It is based on a warm and playful treatment of the etymology of charity. Barbara Harbach transforms these lyrics into a searchingly beautiful lullaby.
Click to view Cherish-Caress
Frontier Fancies for Violin and Piano, 1996 - MS 1257
Fiddleflirt • Twilight Dream • Dancedevil This exuberant set showcases the interaction between the violin and the piano. In Fiddleflirt, the two instruments are protagonists in a duel of speed and energy. Twilight Dream is an evocative aria and lush respite before the wild tarantella of Dancedevil.
Click to view I. Fiddleflirt
Click to view II. Twilight Dream
Click to view III. Dancedevil
Fiddleflirt • Twilight Dream • Dancedevil This exuberant set showcases the interaction between the violin and the piano. In Fiddleflirt, the two instruments are protagonists in a duel of speed and energy. Twilight Dream is an evocative aria and lush respite before the wild tarantella of Dancedevil.
Click to view I. Fiddleflirt
Click to view II. Twilight Dream
Click to view III. Dancedevil
Daystream Dances for Oboe and Piano, 1996 - MS 1257
Rolling Brightness Reeling Dusk This exuberant set showcases the abilities of both pianist and oboist. Rolling Brightness is a rollicking and upbeat dialogue between oboe and piano. Its soaring lines and frequent key changes give it a playful character. Reeling Dusk is a headlong rush into a whirl of sound and sense. The unusual meter signature of 11/8 creates a slightly off-kilter sway. Rhythmic complexities lead to a dramatic oboe cadenza before returning to the opening theme and meter.
Click to view I. Rolling Brightness
Click to view II. Reeling Dusk
Rolling Brightness Reeling Dusk This exuberant set showcases the abilities of both pianist and oboist. Rolling Brightness is a rollicking and upbeat dialogue between oboe and piano. Its soaring lines and frequent key changes give it a playful character. Reeling Dusk is a headlong rush into a whirl of sound and sense. The unusual meter signature of 11/8 creates a slightly off-kilter sway. Rhythmic complexities lead to a dramatic oboe cadenza before returning to the opening theme and meter.
Click to view I. Rolling Brightness
Click to view II. Reeling Dusk
Pioneer Women: From Skagway to White Mountain for Soprano, Clarinet, and Piano, 1994 - MS 1256
Pioneer Women is a collection of four portraits of American women who helped to settle the wilds of Alaska. Taken from their diaries, letters, monographs, and journals, the texts chronicle their journeys throughout Alaska, from Skagway, the Southeastern entrance into Alaska, to White Mountain, near Nome, on the western coast of the Bering Sea.
Click to view I. Catherine Van Curler
Click to view II. Cordelia Noble
Click to view III. Margaret Murie
Click to view IV. Gertrude Fergus Baker
Pioneer Women is a collection of four portraits of American women who helped to settle the wilds of Alaska. Taken from their diaries, letters, monographs, and journals, the texts chronicle their journeys throughout Alaska, from Skagway, the Southeastern entrance into Alaska, to White Mountain, near Nome, on the western coast of the Bering Sea.
Click to view I. Catherine Van Curler
Click to view II. Cordelia Noble
Click to view III. Margaret Murie
Click to view IV. Gertrude Fergus Baker
