Hello my new work for solo flute has been recorded by Kristen McGuire, a flutist at the University of Hartford. Her talent is instantly recognizable! This work is inherently a spiritual expression in considering my life as part temporal human and part infinite spirit who is accountable to the Lord of Israel. I'd be interested to hear what your impression of it is. Let me know.

August 11, 2011

Hello there!

Yesterday I was able to finally obtain the recording of my latest large ensemble work entitled Whiter Than Snow. It was premiered in May 2011 by the very talented Foot In The Door Ensemble. The conductor Joe Hodges was a huge support throughout the rehearsals. This work was written to transmit in sound and melody the experience of skiing through a series of six short vignettes. The movements are titled as follows. I. Anticipation II. On the Edge III. Over the Edge IV. Slow Motion V. Enjoying the Ride VI. Elation.

I also wanted to deal with the process of redemption through this piece. The work has an opening arpeggiated figure presented by the piano which is used to derive all the remaining harmonic and melodic material. Yet, what initially is beautiful takes some ugly turns and yet comes through, after the grace filled fourth movement transformed and victorious, yet not without remembering at the very end where it started.

There is an electronic component to the work. Four samples of T.S. Eliot's narration from his Four Quartets sprinkle this work with episological thoughts on eternity and temporality.

For your reference his audio clips are as follows.

I. Here is a place of disaffection. ...Time before and time after...in a dim light.

II. Cleansing affection from the temporal...filled with fancies and empty of meaning.

III. Descend lower...descend only into the world of perpetual solitude.

IV. Time past and time future.

Thanks T.S.!

My new work for chamber orchestra titled Whiter Than Snow will be premiered Monday May 2, 2011 at the University of Hartford by the exceptional Foot In The Door ensemble. Sometimes with new music people tell me that they can't grasp the musical language or that it is too artsy for them. My work strives to be melodic and artistic to speak to the layman and music lover. Here are my program notes on Whiter Than Snow to help in understanding why the piece was written.

Many listeners in the northeast may be familiar with the wintry excursion of skiing. Whiter Than Snow is a work inspired by the enjoyment of skiing (which I learned
this winter) and considering it as a metaphor for redemption through Jesus Christ. The work is divided into six vignettes with audio samples from T.S. Elliot's narration of the Four Quartets which I choose specifically as they related to a perception of time between physical and spiritual experience. I considered my own spiritual journey to take on similar developments as skiing down a hill. It begins with awe and wonder at the glistening landscape and potentiality of what may come. Next, dizziness and hesitation at actually thinking of following through with it and letting gravity take over. Once one goes over the edge trees and memories fly by with hardly a moment to focus. This is followed by the acknowledgment of the epiphany, of what is actually happening, of being absorbed into nature and into grace. Then, in the words of the Psalms 'let me hear joy and gladness'. One made it down (alive) and forgiveness was worth the risk!
 I.Anticipation
 II. On the Edge
 III. Over the Edge
 IV. Slow Motion
 V. Enjoying the RIde
 VI. Elation

http://harttweb.hartford.edu/events/details.aspx?sid=18009

I've been working on music for the upcoming production of Stage Door. It was a challenge but very rewarding. The music had to fit the 1930's stylistic period and accentuate the rollercoaster ride of emotions throughout the play. The University of Hartford will be delivering a series knock out performances April 7-10. Pick up the tickets quick because they are bound to sell out. http://harttweb.hartford.edu/events/details.aspx?sid=11502

I wanted a cinematic and refined quality to exude from the score. Yet, the sence of space within the play is very intimate. So, I decided on a small jazz combo of piano, bass, drum set and alto sax. This way I could get the jazzy bustle of New York City and Benny Goodman as well as the intimacy of the combo especially as it relates to every scene being set in the boarding house living room. Scores by Max Steiner and Miklos Roza as well as the songs of Rodgers and Hart were very influential in my writing. In fact if you attend you may well recognize the famous Hart tune 'Small Hotel' that I reference.

On a side note (no pun intended) I found a wonderful recording of that very tune done by actor Jerry Orbach from Law and Order.

http://www.youtube.com/watch?v=Ja_OBx-sk-w

Check out a clip from the film adaptation (which the original writers never approved of) done in 1936. Featuring Hepburn and Lucille Ball (I Love Lucy).