AUROLUCENT CIRCLES, 2002 (28 min.)
Movements:
*Floating in Dark Space
*Stardance
*Cycles and Currents

Concerto
Solo Percussion; 3[2nd A. Fl., 3rd Picc.], 2,E.H., 2,2; 4,3,3,1; timp., 3 perc (opt.perc 4 and 5), 2 hp.; strings

Commission: B. Marken Corporation for Evelyn Glennie

World Premiere 11/8/02

Written for Evelyn Glennie, Aurolucent Circles was inspired by images of floating in the dark space of the night sky through the aurora (an electrical atmospheric phenomenon consisting of luminous meteoric streamers, bands, hazy curtains, and streamers of light in the night sky). Instrumental sounds, that seem to be lucent and shining, circle around the stage imitating the aurora. The solo percussionist portrays an array of images, from delicate sparks and streaks and hazy glows, to loud rumbles, roaring pops, flashes and bright electricity. In delicate sections, the soloist is often accompanied by a concertino group consisting of 2 flutes, 2 harps, 2 section percussion, solo strings and 1 trombone or by a concertino of 5 woodwinds. Lyrical and intimate sections of either solo percussion, or solo accompanied by concertino players are contrasted with loud drum solos accompanied by full orchestra.

The first movement begins with images of drifting into deep space, passing through delicate, hazy or sparkling timbres and textures, and flashy, bright, full orchestral sections. A lyrical and mysterious melody between the soloist and trombone introduces the second theme. Driving forward, the movement ends with fast, telescoping patterns of notes grouped according to the Fibonacci number series.The second movement is a dance of color and motion. Beginning with the soloist and gradually including the center concertino group, it is alive with the sound and visual motion of bells ringing. In addition, sometimes the sound begins in one part of the stage and floats or swings to another. Sometimes, in full orchestral sections, the sound sweeps from side to side of the stage in a waltz-like motion. The third movement is a quick-moving perpetual motion that begins with a five-note rhythmic motive circling around the back and sides of the stage between the orchestral percussionists. The soloist interrupts with a drum solo that leads to an interaction with the woodwind concertino. This is contrasted with sections of bright, full orchestral sound. Continuing in non-stop forward motion throughout, the rhythm develops and pummels to the end through further use of the Fibonacci series.

Evelyn Glennie, Percussionist, Seattle Symphony, Gerard Schwarz, conductor.
Performance Materials: Please click HERE for rental and sale information regarding performance material.

CENTENNIAL BELLS (from Century's Song), 2003 1 min.

easy arrangement for middle school and high school orchestras
2 (2nd picc.), 2,2,2; 4,2,1,0; 2 perc., optional 3rd perc. playing handbells D,G,C, piano, strings (any number)

Score and parts for sale: Stanton's Sheet Music, 614.224.4257

CENTURY'S SONG, 2003 7:30 min.

version for community and high school orchestras
2(2nd picc.),2,2,2; 4,2,1,0; 2 perc., optional 3rd perc. playing handbells D,G,C, piano, strings (any number)
Premiere: 2/23/03 ProMusica Chamber Orchestra, Timothy Russell, conductor

Movements: Centennial Bells
Sing with the Lark
Red Hill Special March

CONCERTO FOR CLARINET AND ORCHESTRA, 1994 (11 min.)
Movements:
*Prelude
*Vivace Ritmico

Orchestra
Clarinet solo; 2(picc.),2,2,2(Cbsn.);2,2,2,0;timp., 2 perc. Strings

Written for Richard Stoltzman

Premiere: 2/12/96 Dan Silver, Roanoke Symphony Orchestra, Ming-Feng Hsin, guest conductor

The Concerto for Clarinet and Orchestra was written in 1994 for Richard Stoltzman. In the Prelude, the solo clarinet floats above or below, or winds around and through orchestral sonorities that are sometimes warm, singing and sparkling, and sometimes languid, hazy clouds of sound. An ascending motif begins in the clarinet and occurs frequently throughout, drifting upward at the end of the movement.

The peace and tranquility of the Prelude changes drastically when all caution lets loose in the light-hearted, exuberant and quite raucous Vivace Ritmico. Elements of jazz and the mood of a lively party combine with repetitive rhythmic patterns, changing meters, playful exchanges and comic sounds. A traditional cadenza for the clarinet culminates with a short exchange between the clarinet and a siren in the percussion section before the movement rushes forward to the conclusion.

See also: clarinet and piano reduction; Chamber Concerto for clarinet-piano-percussion;
Prelude and Vivace for solo clarinet and large ensemble

Performance Materials: Please click HERE for rental and sale information regarding performance material.
Recording available. Richard Stoltzman with Seattle Symphony Orchestra, Gerard Schwarz, conductor. MMC Recordings, MMC2080

CURRENTS AND CROSS CURRENTS, 1988 (8 min.)

Orchestra
3(2nd Afl.,3rd Picc),3 (EH),2,B.Cl,2,Cbsn; 4,3,3,1 timp., 3 perc., hp., strings

Premiere: 2/15/89 Saint Louis Symphony Orchestra, David Loebel, conductor, Kirksville, MO

Premiere: 1/31/92 revised version, Juilliard Symphony, Christopher Kendall, conductor, Alice Tully Hall, New York

Currents and Cross Currents is the second movement of the orchestral work, Third from the Sun. Modern man's life rhythms superimposed over the earth's natural rhythms inspired the form of the second movement. Seldom converging, forces like human time as opposed to geological time and man's technical knowledge in contrast to primal instincts and perceptions, seem to go forward on two separate levels unaware of the other. Similarly here, two musical ideas progress side by side, although independently, in separate, overlaid forms. A repeated note motive and rhythmic complexities inspired the use of the Fibonacci number series in sections of this work.

See also: Third from the Sun

Performance Materials: Please click HERE for rental and sale information regarding performance material.

PLUTO - A SEQUEL, 1997 (13 min.)

Orchestra and Women’s Chorus
Soprano Solo, optional women's chorus I (SSA) and II (SSA), 3 (picc), 2, E.Hn, 3 (Bcl),2; 4,3,3(B.Trb),1;timp,perc(4), 2hp, str.)

Commission: Roanoke Symphony, David Wiley, conductor

Premiere: 3/17/97 Roanoke Symphony Orchestra, Roanoke, VA

Pluto, the furthest planet from the earth, had not been discovered when Gustav Holst wrote “The Planets”. This work was commissioned as a sequel that could be performed on concerts with “The Planets”. Pluto, the Roman god of the underworld, sometimes called King of the Dead, was unpitying, inexorable but just and is associated with aggression, passion, conflict, violence, war, intensity and extremes. This work portrays the personality and struggles of Pluto. A middle section portrays Persephone who is the goddess associated with the god of the underworld (Greek name, Hades) in the well-known Greek myth.

Performance Materials: Please click HERE for rental and sale information regarding performance material.
Recording available.

PULSE, 2003 (5 min.)

REMEMBRANCES, 1996 (14 min.)

Orchestra
2(picc.),2,EH,2,2(Cbsn.); 4,3,3,1;timp., 2 perc.;hp;strings

Commission: Roanoke Symphony, Dedicated to Robert Stewart

Premiere: 3/18/96 Roanoke Symphony Orchestra, Yong-Yan Hu, guest conductor, Roanoke, VA.

This tone poem is an elegy and a tribute to Robert Stewart who was a musician, composer, sailor and loved one. Beginning with an expression of grief and sorrow, the music evolves into a musical portrait, full of warm memories, love and admiration, and images of sailing. Typical of elegies and tone poems such as Death and transfiguration by Strauss, it ends in a spirit of consolation and hope.

Performance Materials: Please click HERE for rental and sale information regarding performance material.
Recording available.

SIZZLE, 2000 (5 min.)

Orchestra
2(2nd picc.),2,2,2; 4,2,3,1; timp.; 3 perc.; hp; strings

Commission: Women’s Philharmonic as part of The Fanfares Project

Premiere: 9/30/00 The Women’s Philharmonic, Apo Hsu Conductor, San Francisco, CA

The overlay of rhythms of different characters inspired SIZZLE. In rap music, the intriguing, somewhat mesmerizing rhythmic interplay between the motoric rhythm of the spoken voice and the punctuated, more predictable rhythm of the accompanying instruments was a beginning model for this work. SIZZLE grows and evolves from this germinal rhythmic idea. Various instruments represent the rhythmic current of the rapper: First the bassoons, then violas, then the violins, and later the woodwinds and eventually the entire orchestra.

James Gleick describes the alarming pace and frenetic life-style of the 21st century in his book, Faster. One of his many examples is the Master Clock, which is overseen by the Directorate of Time, an agency of the United States Military. It constantly consults fifty other atomic clocks to compute time within the millisecond so that computers and digital devices around the world can alter their conventional time to “exact” time. In SIZZLE, the instruments on the stage who play the rhythmic currents described above could be said to represent this part of 21st-century life – fast-paced, energized, and filled with emphatic and mesmerizing rhythms.

In this work, low brass in the balcony explore a deeper current as well – a psychic cultural connection with the earth, the ground of being – connecting with a universal flow, with deep space, with the collective unconscious – yearning for that which is infinite, measureless, vast, spiritual.

See also: arrangement for band

Performance Materials: Please click HERE for rental and sale information regarding performance material.