1. Autumnus
Somber and deeply expressive, this chaconne for String Orchestra and Piano is evocative and full of imagery. Although the form is a modified chaconne, the piece is essentially a tone poem depicting the many and varied moods of Autumn. As the Summer gently wanes and dissipates into fall, we hear an adagio chorale (the theme, or main harmonic material upon which the ensuing variations are based). This segues to a viola solo with light piano accompaniment as the trees gradually change colors the their harvest hues. Soon the leaves begin to twist and tumble in the crisp Autumn breezes as they fall to Earth accompanied by a delicate, almost twinkling treament of the theme. The winds intensify surreptitiously and finally the entire ensemble reveals itself as the first storm of the new season sets down upon us; wind and rain lashing the tress - brief but brutal. Please listen and enjoy the piece as you imagine your own narrative.
Running time- 8:52

2. Quiet Places
This suite is a series of short pieces bridged together musically, each reflecting it’s own quiet locale. First, a jazz environment gently sets upon us (clarinet/bass clarinet, two acoustic guitars, piano, bass and varied percussion) and we enter a dimly lit, intimate lounge, which then flows into a vast open meadow of wildflowers and herbs.
Running time- 1:38

3. Chevy Colorado Commmercial
I was given the opportunity to prepare an audtion commercial for a prestigious Manhattan based music production studio. It begins with the opening Trumpet theme from Mahler's Symphony No.5 and progresses from there into a quasi-rock synth fanfare. The "storyline" seemed to suggest to me that the truck was a captured animal that frees itself, escaping the urban confines to be in the wild, running and playing with its bretheren; at last it climbs to the surrounding summit and surveys all it has conquered. (Click here for video.)
Running time - 0:58

4. Piet’s March
This comical march is arranged for four saxophones, three trumpets, two trombones, vibraphones, and piano. Though there is a Hungarian flavor to the melodies, they are neither genuine folk tunes nor arranged traditionally. Energetic, even frenetic at times, this is an impish piece, belying it's slow surreptitious start.
Running time- 2:15

5. Glenville Woode: The River
My ballet for full orchestra is the story of a dream through an imaginary ancient forest, somewhere on the British Isles. Here we have come upon a river; at first broad and fierce, then swifter and more kinetic as the undercurrents start to rise the surface. The section concludes with turbulent, crosscurrents (represented by various rhythmic strata) rushing towards a crashing waterfall.
Running time- 0:57

6. Glenville Woode: The Chase
At this point in the program, the protagonist has accidentally found a sacred druid burial ground and witnessed their dance ritual. We join the ballet in progress as the secret rite finishes and the protagonist has suddenly been discovered interloping. Naturally, he/she is pursued by the worshippers, and flees, knowing full well if caught, survival is unlikely.
Running time- 1:26

7. Symphony No. 1 in D Major: Mvt.1 Allegro con spirito
A jubilant outburst for full orchestra opens the symphony written in the style of the Classic Era. This movement takes form as a Theme and Variations and is of a motivic nature.
Running time- 0:47

8. Symphony No. 1 in D Major: Mvt.1 Allegro moderato
This second symphonic excerpt has a more Baroque texture to it, especially in the use of part doublings, and is the late transitional material that eventually leads back to the opening theme, used to close the entire movement with fanfare.
Running time- 0:25

9. Symphony No. 1 in D Major: Mvt.3 Scherzetto
This excerpt from the 3rd movement adopts the Classical Era "fast" dance movement, though not as brisk or weighty as Beethovian Scherzo. An inital outburst is followed by a strongly rhythmical, jubilant string ostinato with the principal theme harmonized above in the winds, then repeated with brass elemnts to highlight the theme. This is followed with a flowing lyric melody carried by the Franch horns and Trombones, with strong counterpoint in the winds, which gives way to a unison voicing of the 2nd theme's counter-melody.
Running time- 0:59

10. webExpand Theme
This brief yet dramatic orchestral sequence was written for a web site (webExpand.com). It played while the various graphical content loaded and displayed, concluding with the full logo dissolve, synchronized musically with the final chord and tympani roll.
Running time- 0:33

11. Drie Kleine Konzertstückes: Fantasia
A small section of the eerie second movement of three ensemble pieces, decidedly contemporary in both sound and scoring. Arranged for piano, flute, English horn, viola, cello and vibraphone the music flows along cautiously, yet continuing forward, racing to a great climactic collapse.
Running time- 1:07

12. Country Theme
An easy whimsical melody arranged for a traditional bluegrass band: fiddle, banjo, piano, and percussion.
Running Time- 0:18

ANTHROPOMORPHIC: THE MUSICAL

The tragic story of Wesley and his attempts to find courage in a bigoted world. Told through parable and set in an imaginary world where the Invertabrates rule, as the Vertabrates struggle for the most basic rights. Anthropomorphic is a touchingly human drama, for puppets.

These songs are presented in show order without the vocal parts.

13. Anything More
The opening number from the musical, and Wesley first enters this magical world afer narrowly escaping a beating from some locals toughs. Here he questions his role in his own destiny and his frustrating attempts to live happily, as he is. This recording features myself doubling the vocal part on Clarinet. You can listen to the version without my Clarinet playing here.
Running time - 2:29

14. We Got Some Show
The cunning spider Venton, organizes a traveling Revival in the area preparing for the evenings 'religious' event. His plan is to fleece the locals, so I tried for a carny-like atmosphere that had a real stagey 'oomph'
Running time - 2:22

15. Just To Run Away
Cricket finds Wesley, and after learning how he came to be in their world, he offers Wesley some advice. When does one stay and fight, and when do you run away? Intermingled within this conundrum are fantasies of a world that is as it should be, beofre it was all taken away - blue skies, singing birds, sun and rain - and the stark reality of the cold worlds they both live in. This song shifts between two thought pleateaus, represented by a Quasi-Funk/Disco section, and a Waltz-like tune in a gentle, flowing 6/8 meter.
Running time - 3:02

16. On The Horizon
Wesley and Oglesby are still lost in the woods, so the Vertebrates gather together to send a prayer into the wind to protect the lost ones. This choral piece features some a lovely 5-part round in the chorus, supported by soft undulating moving figures in the woordwinds against a langorous french horn solo.
Running time - 3:22

17. What Dreams May Come
Holcombe meets with Cricket to discuss loyalties in the battle. Cricket, whose heart is with the human boy Wesley, is conflicted and Holcombe advises him to choose a side, and consider what the future may hold. This vocal duet is supported by a dense orchestrartion that features a great deal of textures; rich with counter-melody, imitative figures, and sonorous harmonies.
Running time - 4:27

18. Everything Is A Circle
Preparing for the great battle the Vertebrates are resting on a hillside as Granath meditates the sad wonderment of the cyclic nature of tragedy...for all beings, despite their differences. A light, melancholy orchestration nicely balances this delicate yet pondorous statement.
Running time - 2:23

19. She No Longer Sings
After experiencing the cruelty of angry peers and bigoted overlords, unwittingly forsaken the love of his God, and broken his mother's heart, Wesley laments alone that no longer will her gentle voice carry him to sleep. This lullaby is Wesley's tender farewell to those he loves and that once loved him.
Running time - 2:31

20. Carry On
The show's finale. Having decided he can no longer remain in a world of hate and rejection, Wesley accepts his fate. His pained pleas to be able to carry on in spite of what his life is is met with ultimate tragedy. He now knows he is just not strong enough to win that battle. The cast takes up Wesley's swansong and it become a song of hope. Hope that we should all one day be able to find the strength we may need to bravely be ourselves in the face of prejudice. That we shall all carry on.
Running time - 3:21

Press releases announcing the show:

Brooklyn Daily Eagle - Time Out New York - The Brooklyn Bugle

ARRANGEMENTS

21. Symphony No. 35 "Haffner" Mvt. 2, K.385
The quintessential Andante from Mozart's famous symphony is the first selection in The Clarinet Album, a collection of arrangements originally for clarinet and piano, which has now been expanded to include versions for violin (performed here), flute and oboe. I was drawn to this particular movement by the pure elegance of the melody, truly Mozartian in it's grace and presence. Click here to see pages from the score.
Running time - 4:42

22. Sonate in E-moll
This transcription features Telemann's haunting embellishment of his beautiful melody, as well as my own originally composed piano accompaniment. Of note is the early use of Neoploitan harmonies, in conjunction with their 7ths (particularly in relation to the dominant), which function like the more modern augmented-6th chord. This juxtaposition of Early Baroque modality and Romantic tonality, the familar and the different, gives an unsettled lost sense of longing to the theme. Click here to see pages from the score.
Running time - 2:48

23. Sonata in C-minor "Pathetique" Mvt. 2, Op. 13
A simple rendering of Beethoven's touching rondo from his tumultuous piano sonata. The frenetic energy of the first movement gives way to calm, serene, reflective music. The melody is rich and mildly dissonant, surely one of the Master's greatest. The listener is brought from heights of quiet inspiration to depths of despair, only to be brought back to an even loftier plateau.
Running time - 4:57

24. Variations on a theme by Gillespie
Although this piece is an original compostion, the opening theme constitutes a piano treatment of the classic jazz standard "Be Bop" by Dizzy Gillespie and Charlie Parker. This is one of my all-time favorite heads to play as I've always been intrigued by the strength of this melody. Its clean structure, simple contours and easy recognizability make it ideal for exploration and variation. This recording features the introduction and first variation.
Running time - 1:25