Orchestra

Program Note: “A city is not beautiful by accident” writes historian William H. Wilson. “City Beautiful” takes its title and inspiration from the architectural movement of the late nineteenth and early twentieth centuries that gave us the boulevard and parks system in Kansas City. The movement had an impact on many other US cities as well, including Chicago, Detroit, and Washington, D.C. to name a few. One of the principal philosophies underlying the movement and one that inspired me to write this composition, was the belief in the “shaping influence of beauty” on society. Advocates believed that beautification of our physical surroundings would promote a sense of community and increase the quality of life in cities around the country. In many ways, I feel music has a similar power to influence and shape a community. This composition was commissioned as a celebration of the 60th Anniversary of the Youth Symphony of Kansas City and I cannot help but ponder the wonderful shaping influence of this organization over sixty years of music making in our community. Commissioned by the Symphony Orchestra and conductor Steven D. Davis of the Youth Symphony of Kansas City, in celebration of its 60th Anniversary Season.

PERFORMANCE HISTORY
^{The Haffner Orchestra, Alex Robinson, Conductor, Lancaster, UK (June 21, 2025)
Austin Civic Orchestra, Veronica Salinas, Conductor, Austin, TX (May 18, 2025)
Sheboygan Symphony Orchestra, Ernesto Estigarribia Mussi, Conductor, Milwaukee, WI (May 17, 2025)
Missouri State Symphony Orchestra, Yi-Ping Chen, Conductor, Springfield, MO (March 12, 2025)
Kentucky All-State Symphony Orchestra, Heather Lofdahl, Conductor, Louisville, KY (February 8, 2025)
Lawrence Chamber Orchestra, Rachel Dirks, Conductor (October 5, 2024)
Purdue Orchestra, Lucas Peterson, Conductor (April 27, 2024)
Omaha Area Youth Orchestras, Aviva Segall, Conductor (April 21, 2024)
Rhode Island Music Education Association, All-State Orchestra, Hannah Reitz, Conductor (March 24, 2024)
LaPorte Orchestra, Carolyn Watson, Conductor (March 10, 2024)
Arkansas All-State Symphony Orchestra, Mark Laycock, Conductor (February 17, 2024)
Florida Symphony Youth Orchestras,  James O. Welsch, Conductor (February 10, 2024)
2024 ILMEA Honors Orchestra, Dr. Carolyn Watson, Conductor (January 27, 2024)
University of Illinois Orchestra, Carolyn Watson, Conductor (November 29, 2023)
Omaha Area Youth Orchestras, Aviva Segall, Conductor (November 5, 2023)
Georgia State University Orchestra, Tamara Dworetz, Conductor (October 25, 2023)
KC Youth Symphony Viennese Masters Invitational – Carnegie Hall, Steven D. Davis, Conductor (June 16, 2023)
Greensboro Symphony Youth Orchestra, Heather Lofdahl, Conductor (May 21, 2023)
Columbus Indiana Philharmonic, Carolyn Watson, Conductor (May 6,2023)
Lee Summit Symphony, Steven Davis, Conductor (April 15, 2023)
Heartland Symphony Orchestra, Ryan Webber, Conductor (April 1 &2, 2023)
Texas Music Educators Association, Region 17, Tamara Dworetz, Conductor (November 19, 2022)
James Madison University Orchestra, Thomas O’Keefe, Conductor (November 3, 2022)
University of New Hampshire Orchestra, David Upham, Conductor (October 15, 2022)
Australian Honours Ensemble Program Orchestra, Ingrid Martin, Conductor (October 1, 2022)
Salina Symphony, David Littrell, Conductor (June 4, 2022)
New Jersey Youth Symphony, Helen Cha-Pyo Conductor (May 15, 2022)
Orchestra, D99 Orchestra, Amanda Zall, Conductor (March 17, 2022)
Orchestra Iowa, Timothy Hankewich, Conductor (March 12, 2022)
Colorado All State Orchestra, Carolyn Watson, Conductor (February 5, 2022)
Kansas City Metropolitan All-District Orchestra, Carolyn Watson, Conductor (January 8, 2022)
Rensselaer Orchestra, Tamara Dworetz, Conductor, (October 21, 2021)
Interlochen Philharmonic, Carolyn Watson, Conductor (August 8, 2021)
KU Symphony Orchestra, Joseph Chan, Conductor (November 5, 2020).
Messiah College University Orchestra, Timothy Dixon, Conductor (March 6, 2020).
Kansas City Civic Orchestra, Boris Vanyer, Conductor (February 29, 2020).}

Program Notes: “Genius Loci,” from the Latin “spirit of place,” refers to the unique atmosphere of a place. Composers, writers and artists throughout history have been inspired by place. Their works are not about the representation of a place but rather the distinctive residue that inspires expression. It is in this sense that Genius Loci – Spirit of Place is my own exploration of the meaning of “place.”

The spirit of place is in itself organic to music. As a time-based art, it is the essence, the residue, of the opening that emanates throughout a composition as “place,” as a marker, if you will, for the composer and listener alike. When we talk about music, this place is often referred to as home, sense of place. We talk about the home key, for example, and the journey away from that place and an eventual return home. Similarly, Genius Loci-Spirit of Place, emanates from its opening gesture. What follows, grows organically out of the spirit of that place and informs the remainder of the work. Throughout the piece, the properties of “place” are transformed, developed, internalized, and re-examined. The underlying current that flows throughout the entire composition, however, is the spirit of place.

The revised version of Genius Loci – Spirit of Place was commissioned by NAVO Ensemble for the 10^th Anniversary Season and is dedicated to conductor Shah Sadikov.

PERFORMANCE HISTORY
^{NAVO Chamber Orchestra with the Park ICM Orchestra, Shah Sadikov, Conductor (September 20, 2024)}

Program Notes: The phrase “Into the Blue” invokes thoughts of a journey into the unknown, an openness toward new possibilities, all accompanied by a playful, adventurous spirit and a big dose of spontaneity. I imagine a journey from one place to another without a direct route pre-mapped between start and finish. These descriptions of “Into the Blue” hold true for the composition as well. The piece is propelled by the events set in motion in the beginning and ideas are bounced playfully through the orchestra. The unexpected is embraced, spontaneous detours are celebrated and we journey together with the music into the distance, allowing events to unfold naturally and fully. “Into the Blue” was commissioned and premiered by the Youth Symphony of Kansas City.

Performance History:
^{Tacoma Youth Symphony, James Welsch, conductor (March 1, 2025)
Omaha Orchestra, Ken Meints, conductor (Feb 22, 2025)
Aurora Symphony Orchestra, Jeremy D. Cuebas, conductor (April 6 & 7, 2024)
2023 Nebraska All State Orchestra, Luis A. Víquez, Conductor  (November 18, 2023)
2023 South Dakota All-State Orchestra, Mark Laycock, conductor (October 28, 2023)
Wichita Youth Symphony, Mark Laycock, Conductor (November 12, 2022)
Liberty Symphony Orchestra, Langston Hemenway, Conductor (April 26, 2022)
Kansas State Orchestra, Rachel Dirks, conductor (October 22, 2019).
Lawrence Community Orchestra, Matt Smith, Conductor. (May 7, 2017).
Messiah College Symphony Orchestra, Timothy Dixon, conductor. (March 1, 2013)
Messiah College Symphony Orchestra, Timothy Dixon, conductor (February 17, 2013)}

Program Notes:

The famous Rhineland mystic, nun, healer and composer, Hildegard von Bingen (1098-1179) hardly needs an introduction. Recent popular and scholarly discoveries of her music as well as correspondences and writings on natural healing have made her famous to the public at large. Her extraordinary achievements, all the more astonishing considering the burden of being a woman in a medieval monastic world, have made her something of an international cult figure. My composition Musica Ignota draws inspiration from Hildegard’s music as well as her lesser-known invented language system entitled Lingua Ignota (Latin for “unknown language”). To write in this imaginary language, she used an alphabet of 23 letters and created a glossary of over 1000 beautiful, unknown words, presumably intended as a universal language for mystical purposes. The opening to the glossary in the Wiesbaden Riesencodex disarmingly states that Lingua Ignota is “an unknown language brought forward by the simple human being Hildegard (Ignota lingua per simplicem hominem Hildegardem prolata).” Having grown up in the Rhineland myself, I have long been fascinated by Hildegard von Bingen and it is my hope that the “unknown music” brought forth in my composition Musica Ignota, serves to honor her life and work.

The orchestral version of “Musica Ignota” was commissioned by the Topeka Symphony Orchestra – Kyle Wiley Pickett, Music Director and Conductor.

Performance History:
^{Rhode Island Symphony Orchestra, Luis Viquez, Conductor (October 20, 2024)
Interlochen Philharmonia, Creston Herron, Conductor (August 4, 2024)
Topeka Symphony Orchestra, Kyle Wiley Pickett, conductor (November 6, 2023)}

Program Notes: The moment I read Whitman’s poem “Grand is the Seen,” I knew I had to set these beautiful words to music. A soundworld arose immediately and as I was getting deeper into the writing process, the music flowed freely, as if Whitman’s words themselves already had the music embedded in them and all I had to do was tap into the energy of it all. At times it felt truly magical and mysterious!

After finishing the first song and hearing the wonderful premiere at the Abiquiu Chamber MusicFestival in New Mexico, I realized I was not quite ready to let go of Whitman’s words. I discovered two more poems from Leaves of Grass that, although written at different times, seemed to belong
together with Grand is the Seen to form a cycle. For me, these three poems create a beautiful journey, a journey of the soul from awakening to awareness to transcendence.

“Soul Journey – Three Whitman Songs” for Mezzo Soprano and Piano was commissioned by the Abiquiu Chamber Music Festival. The orchestral version was commissioned by the Chamber Orchestra of the Springs, Thomas Wilson, conductor.


Soul Journey  – Three Whitman Songs from  Leaves of Grass
I. Grand Is the Seen
 Grand is the seen, the light, to me – grand are the sky and stars,
 Grand is the earth, and grand are lasting time and space,
 And grand their laws, so multiform, puzzling, evolutionary;
 But grander far the unseen soul of me, comprehending, endowing all those,
 Lighting the light, the sky and stars, delving the earth, sailing
     the sea,
 (What were all those, indeed, without thee, unseen soul? of what
     amount without thee?)
 More evolutionary, vast, puzzling, O my soul!
 More multiform far-more lasting thou than they.

II. I swear I think (from “To Think of Time”)
I swear I think now that every thing without exception has an
     eternal soul!
The trees have, rooted in the ground! the weeds of the sea have!
     the animals!

I swear I think there is nothing but immortality!
That the exquisite scheme is for it, and the nebulous float is for it,
     and the cohering is for it!
And all preparation is for it—and identity is for it—and life and
     materials are altogether for it!

III. Darest thou now, O Soul
Darest thou now, O Soul,
Walk out with me toward the Unknown Region,
Where neither ground is for the feet, nor any path to follow?
 
No map, there, nor guide,
Nor voice sounding, nor touch of human hand,
Nor face with blooming flesh, nor lips, nor eyes, are in that land.
 
I know it not, O Soul;
Nor dost thou—all is a blank before us;
All waits, undream’d of, in that region—that inaccessible land.
 
Till, when the ties loosen,
All but the ties eternal, Time and Space,
Nor darkness, gravitation, sense, nor any bounds, bound us.
 
Then we burst forth—we float,
In Time and Space, O Soul—prepared for them;
Equal, equipt at last—(O joy! O fruit of all!) them to fulfil, O Soul.