For the Time Being (2011) for Flute, Soprano Saxophone and Piano
Other Instrumentation available:
Flute, Oboe d’amore and Piano
Flute, Bb Clarinet and Piano
Duration: 7 min
Commission: The Greenbrook Ensemble
Premiere: The Greenbrook Ensemble
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Program Note: After picking the title, For the Time Being, I realized just how often I use this expression in my daily life. When we say these words we imply that whatever state we are in or whatever action we are performing is temporary and merely a fleeting moment. In reality, of course, all states and actions are temporary and our perception of permanence is an illusion. For the Time Being is the next exploration in a series of works examining this concept of passing time. For the Time Being was commissioned by The Greenbrook Ensemble, Nashville, TN.
Loveliness Extreme (2007) for Clarinet, Violin, Cello and Piano
Other Instrumentation available:
Clarinet, Viola and Piano
Duration: 11 min
Commission: newEar contemporary chamber ensemble
Premiere: newEar contemporary chamber ensemble
April 28, 2007; Kansas City, MO
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Program Note: Words are the inspirational seeds for much of the music I write. “Loveliness Extreme” was inspired by Gertrude Stein’s 1913 poem, “Sacred Emily”:
Rose is a rose is a rose is a rose
Loveliness extreme.
Extra gaiters,
Loveliness extreme.
Sweetest ice-cream
Pages ages page ages page ages.
Reading Stein, I get the sense that she was digging deep under each word, turning each over itself and the next, inside and out, to discover the possibilities that lay beneath. Stein said: “One of the things that is a very interesting thing to know is how you are feeling inside you to the words that are coming out to be outside of you.” The words “loveliness” and “extreme,” together, created a beautiful inner landscape that allowed me to discover a deeper understanding of the connection between what starts on the inside and grows into something that can be experienced on the outside. “Loveliness Extreme” was originally commissioned by newEar contemporary chamber ensemble for violin, clarinet, cello and piano and premiered in 2007. The trio version for viola, clarinet and piano was arranged for the Wakarusa Trio in 2013.
Clarinet, Viola and Piano Version
The More Things Change (2012) for Clarinet, Violin, Cello, Piano and Percussion
Percussion Details: Vibraphone, Glockenspiel, Xylophone, suspended cymbal, triangle, Tam-tam – 1 player
Other Instrumentation available:
Clarinet, Alto Saxophone, Violin, Cello, Piano and Percussion
(arranged for Latitude 49)
Duration: 7:30 min
Commission: newEar contemporary chamber ensemble
Premiere: newEar contemporary chamber ensemble, September 8, 2013, Kansas City, MO
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The Road is All (2007) for Piano Trio
Duration: 12 min
Commission: newEar contemporary chamber ensemble
Premiere: newEar contemporary chamber ensemble
November 7, 2007; Kansas City, MO
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Program Note: “Le but n’est rien; le chemin, c’est tout.” (The end is nothing; the road is all.) - Jules Michelet, 19th century French historian ”The Road is All” embraces the journey, the twists and turns, the unpredictability that is life, the lingering in the space between, and the simple enjoyment of a moment in passing time. “The Road is All” was commissioned by newEar contemporary chamber ensemble.
There are Things to be Said (2009) for Flute, Oboe and Piano
Other Instrumentation available:
Flute, Soprano Saxophone and Piano
Flute, Bb Clarinet and Piano
Duration: 9 min
Commission: Allégresse
Premiere: Allégresse
September 22, 2009; Lawrence, KS
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There are things to be said.
No doubt.
And in one way or another they will be said.
But to whom tell the silences?
With whom share them now?
For a moment the sky is empty
and then there was a bird.
(Permission to use “There are Things to be Said” by Cid Corman granted by Bob Arnold, literary executor for Cid Corman.)
The Voice of the Rain (2018) for Flute, Cello and Percussion
Duration: 7 min
Percussion Details: Marimba & Vibraphone – 1 player
Commission: New Music USA Project Grant
Premiere: Sarah Frisof – flute, Hannah Collins – cello and Michael Compitello – percussion, May 22, 2018, Lansing, KS
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Program Notes: Words are the inspirational seeds for much of the music I compose. The Voice of the Rain takes its title and inspiration from Walt Whitman’s poem “The Voice of the Rain” from Leaves of Grass. Whitman beautifully describes the world as an everlasting cyclical process of giving birth to itself and giving back life to its own origin. I was especially drawn to the last line of this poem where Whitman reveals a deeper truth about the creative process. He equates the everlasting cyclical nature of life, with the creative process, where – like the rain – the creation changes form but is always the same at its core and eventually returns to the poet as love from those who read the words. It is my hope that the music captures the essence of Whitman’s powerful meditation on nature and humanity. The Voice of the Rain was commissioned as part of a New Music USA Project Grant and written for Sarah Frisof – flute, Hannah Collins – cello and Michael Compitello – percussion.
The Voice of the Rain
And who art thou? said I to the soft-falling shower,
Which, strange to tell, gave me an answer, as here translated:
I am the Poem of Earth, said the voice of the rain,
Eternal I rise impalpable out of the land and the bottomless sea,
Upward to heaven, whence, vaguely formed, altogether changed, and
yet the same,
I descend to lave the drouths, atomies, dust-layers of the globe,
And all that in them without me were seeds only, latent, unborn;
And forever, by day and night, I give back life to my own origin,
and make pure and beautify it;
(For song, issuing from its birth-place, after fulfilment, wandering,
Recked or unrecked, duly with love returns.)
Wider Than the Sky (2020) for Oboe Trio
Duration: 12 min
Commission: Celeste Johnson, Kassia Oboe Trio
Not currently for sale.
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Program Notes: Emily Dickinson’s meditation on the power of human imagination is the inspiration for my oboe trio “Wider than the Sky.” In her poem, she takes an abstract concept and renders it into something tangible and visible for the reader, allowing us all to celebrate the power of human consciousness. The first two stanzas focus on the relationship between the mind and the outer world. The sky and the sea are enormous creations, and yet the mind can conceive and contain them as ideas. Much has been written about the third stanza and especially the meaning of the last line of this poem. For me, as sound is such an important part of my life, I believe she means that humans give meaning to sound and therefore give voice to creation. I am grateful to Celeste Johnson for commissioning this trio and giving voice to my imagination.
Wider than the Sky
The Brain—is wider than the Sky—
For—put them side by side—
The one the other will contain
With ease—and you—beside—
The Brain is deeper than the sea—
For—hold them—Blue to Blue—
The one the other will absorb—
As sponges—Buckets—do—
The Brain is just the weight of God—
For—Heft them—Pound for Pound—
And they will differ—if they do—
As Syllable from Sound—
Emily Dickinson, c. 1862