Intrada, opus 117
A short work Ideal as a prelude for any recital, this is part of a four movement sonata. Currently this movement is the only one that has been released. It is in a key of Bb (2:36)
Sinfonia V opus 113
Really should have been titled Sinfonia IV, unless I have just lost a work, which is possible. This work is constructed using the pattern of the overtones within one of my I ching scales in the key of E where the music cycles out and down over the pattern, each as the pattern is concluded, it is then repeated at half time with more inner content to each wave. This is a very difficult work to put together, but the ultimate expressive possibilities of the piece make it quite wonderful. (5:47)
Sonata for Horn & piano Opus 23
A work from the mid 1980’s. I was writing sonatas for all the brass instruments. The surviving part of this sonata is what was the 3rd and 4th movements. I now consider it complete in just two parts, but still keep the Sonata name. The first part is a nice flowing work in three followed by a labored work with contrasting twos on threes but with nice use of open to stopped slides and fun trills.
Mocking Bird Sonata opus 68
One of my more popular works, Written my first year at the Bear Valley Music Festival in August 1992, When I stayed in the house of my friends the Deikman's.
This work is in four movements presented on this cd with the long repeat in the first movement, which is most likely a little too much. The Mockingbird call is quite enjoyable and it fits the horn well. The middle two movements were written on a visit to Western Massachusetts and contain some interesting use of retrograde and complex sounding poly-rhythms. The fourth movement, I see as a American work way better than Gordon Jacob’s Concerto!
Wailing for Horn piano & tape, opus 86
Wailing was written for two reasons, I wanted to write something loud featuring the horn, and I need to explore some sadness that I felt going through a divorce. This work was written with the natural (hand) horn in mind although it has not received a première on the original instrument, I have performed it on modern horn with computer, no piano.
Movement 1 is a study into the contrast between the scale C, Db, D#, E, F, Gb, Ab and scale B,C,D,E,F,G,Ab. The second scale I is used in four modulations with roots on B, G#, F, and D. The polyrhythms 3:4 and 8:9 are featured prominently. I am sure this work houses thoughts on contrasting open and closed sounds on the horn.
Movement two explores a more minimal concept. Using the chart on the next page of the possible orders of five tones, I went through and constructed the piece by presenting the first tone of each row, then the first two , three four and the five, then I believe I want back decreasingly. This is obvious with the increasingly fast rhythms & the type of polyrhythm.
In the third movement. I am moving away from my sadness and have written a minuet, trio form using the contrast of the open and closed tones on the horn to construct the melody, within certain scale limitations.
The fourth movement is a parody on the horn “carillon” theme from L’Arlesienne of George Bizet in two different keys. Once again there are sections of the open tones and sections of the closed tones all put into a fabric of accelerating and decelerating modes.