Solo Instrumental
Works for flute, clarinet, viola, organ, and pianoIntrospections
for solo flute
Score
Instrumentation: solo flute
Duration: 9'45"
Composed: 1986
Published by: J.B. Elkus Music
Distributed by: Subito Music
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Messenger
for solo flute
Instrumentation: solo flute
Duration: 4'45"
Composed: 1995
Updraft
for solo flute
Score
This work is part of the collection THE AMERICAN FLUTE (60000810 - $18.95) ed. John Solum.
Instrumentation: solo flute
Duration: 2'30"
Composed: 1996
Published by: J.B. Elkus Music
Distributed by: Subito Music
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Contraption
for solo contrabass clarinet
Score
Instrumentation: solo contrabass clarinet
Duration: 5'30"
Composed: 1991
Published previously by the American Music Center
Now in The New York Public Library Archives & Manuscripts
Contact the composer
Watch on YouTube
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Commissioned by Dennis Smylie. Premiered by Smylie at Miller Theater, New York, N.Y. May, 1991.
Chorale
for solo viola
Score
This work is part of the collection THE AMERICAN VIOLA (60000050 - $29.95) ed. Robert Bloch, and may not be purchased separately.
Instrumentation: solo viola
Duration: 2'30"
Composed: 1993
Published by: J.B. Elkus Music
Distributed by: Subito Music
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Altarpiece
for organ
Score
Instrumentation: organ
Duration: 12'
Composed: 1996
Commissioned by the American Guild of Organists
Published by: J.B. Elkus Music
Distributed by: Subito Music
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Fanfare for Organ
Score
Instrumentation: organ
Duration: 1'
Composed: 1995
Published by: J.B. Elkus Music
Distributed by: Subito Music
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Paraphrasis
Invention on the tune Innsbruck
Instrumentation: organ
Duration: 7’59”
Composed: 1981
Graphic score available from composer on request.
Three Existential Postcards
for Piano
Instrumentation: piano
Duration: 6’45”
Composed: 2013
Movements:
1. Etherea
2. Cryptica
3. Gnostalgia
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The title suggests some mystery in these free-form “Existential Postcards,” which came to me as though from some other- worldly, yet recognizable, state of existence or perception. “Etherea” dwells in the stratospheric regions of harmonic atmosphere, where tones become as light as helium. “Cryptica” concerns my reaction to a painting of the Spanish-Mexican Surrealist artist Remedios Varo. In her painting Exploration of the Source of the Orinoco River, it is apparent that the drama of exploration takes place within the made-up landscape of the unconscious, where there is a fusing of surreality, myth, and painterly tradition extending back to the early Flemish masters, with their attention to detail and esoteric symbolism. “Gnostalgia” is both nostalgic and knowing, as fragments of a just-remembered melody morph into raging intensity, before disappearing with a gentle ripple.
Theme and Seven Variations for Piano
Instrumentation: piano
Duration: 10’52”
Composed: 1972
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Based on two contrasting gestures: a twelve-tone row, stated pianissimo in rising phrases, and a brusque interruption in the form of staccato figures sustained in the right hand as harmonics. Although the row remains as a theme in all the variations, the piece is by no means strictly serial; thus, while the staccato episodes echo two and three- note cells in the row, they do not make use of all twelve tones. It is rather the exploration of the harmonic implications of the row, as in the trills and tremolos of Variation II, that governs the whole.
Three Piano Pieces
Instrumentation: piano
Duration: 20’21”
Composed: 1996
Movements:
1. NGC 2997 - a spiral galaxy in the constellation Antlia
2. Saturn - mortification, fixed form, and the grave
3. The Work of Sun - enlightened consciousness
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When I began writing the first of these pieces, I had no idea what it was or where it was going. An arpeggiated figure serves as the basis for continuation of….something, but whatever it was, “it” determined what it was going to do next. (Of course, “it” was me all along—-my musical training and every other aspect of my personal history.) I wrote out the score in a kind of musical dictation, as the first chord unfolded, paused, started again, and gathered momentum before morphing into new shapes of the original idea. A photo of the turquoise-hued spiral galaxy labelled NGC 2997 in my pocket guide to astronomy furnished a title for the finished piece, as it invoked in me a serene wonder in both the universe of the mind and the universe of time and space. The next piece, “Saturn,” consists mainly of stark, block-like chords in a minor key, contrasting in every way with its predecessor. Again, it was only after finishing that I was reminded of Albrecht Dürer’s Melencolia, where a winged figure sits brooding amid huge geometrical forms and implements for calculating the construction of something which can only be imagined by the artist himself. This seems to echo my own state of mind at certain points in the composing process. After the first delightful plunge into a new work comes a half for analysis, planning, and sometimes even moodiness, as I take stock of my composing materials. In astrology, which I was also studying back then, Saturn can refer to mortification, fixed form, and the grave. In a sense, the life-giving joy of creation must seek a way to revive its generating energy after the stasis needed for cogitation before it can reach its fulfillment. The third piece, “The Work of Sun,” is a term used in the alchemical tradition. Again, metaphor is the main thing. Instead of transforming “base matter” into actual gold, some scholars say that the alchemical writings should be studied as the artfully disguised path to enlightened consciousness. In the slow unfolding of the third piece, I imagined the germination of a seed as the leaves unfold to the sun’s rays and to the universe at large, at the same time its roots ground it to the physical world, to planet Earth.