Orchestral Compositions
The warrior learns to surrender (2023)
The warrior learns to surrender for Cello Solo, Orchestra, and Electronic Sound (2022)
Instrumentation:
Cello Soloist
Timpani
Percussion 1 (Crotale (bowed), Marimba, Xylophone
Percussion 2 (Vibraphone (with motor), 2 Suspended Cymbals
Percussion 3 (Snare Drum, Bass Drum)
Piano
Violin 1 (16)
Violin 2 (14)
Viola (12)
Cello (10)
Contrabass (8)
Electronic Sounds – Computer and DAW software (Digital Performer (preferred) or Ableton Live)
Electronics score and performer – The score requires an individual familiar with audio technology to manage all sound cues. The electronics performer launches sound cues called Scenes using a computer with a digital audio setup installed. Each scene is launched in real time while following the Conductor and the score. The electronics performer should be familiar with following a music score.
I was attracted to the image of the warrior because it connotes strength, discipline, and effort. It is an image that virtually every culture is familiar with. What first comes to mind when one says warrior is a military person but for my purposes, in this piece, the warrior reflects any adult who is living through and facing their life’s struggles, trying to not lose their head (not always easy). I think we all have moments where we want to run away, retreat, and hide. The warrior must battle the “flight” aspect of “fight or flight” and continue forward. Likewise, we try to have the courage to face our own travails.
So the solo voice, the cellist, represents the soul of the warrior. Its main theme is soaring and dramatic. Each entrance of this theme is treated as a variation – in inversion, retrograde, and retrograde inversion. As the piece proceeds, the warrior/cellist enters a series of sound worlds, sometimes discordant, sometimes soothing, sometimes cacophonic. The cellist negotiates its way through these sound events.
The warrior’s mind must learn not to fight or panic against their immediate situation but instead acknowledge and assent to what is actually occurring and then proceed forward as well as possible. This feeling of surrender, of acceptance, of being of service, is maintained as the piece softly ends. – notes by John Bickerton
Clicking the link below will open the score in a new browser tab.
Wonder Spirit (1994, for orchestra 2023)
Wonder Spirit (for orchestra) (1994, arranged for orchestra 2023)
Instrumentation:
2 Flutes (II = Piccolo)
2 Oboes
2 Clarinets in Bb
2 Bassoons Contrabassoon
4 Horns in F
2 Trumpets in Bb
2 Trombones
Tuba
Timpani
Percussion (Triangle Suspended Cymbal Tam-Tam, Snare Drum, Bass Drum, Chimes, Glockenspiel Vibraphone)
Harp
String Orchestra (Double Bass with C extension, minimum 4 players)
Wonder Spirit doesn’t break any new ground as far as orchestral or formal techniques go. It focuses instead on providing the orchestra subscriber/patron with a modern work that is accessible, dramatic, and rewarding (in the back of his mind, the composer also had the goal of producing a work that orchestra musicians would enjoy performing). One could describe the piece as a confluence of the Eastern-influenced ritual music of Alan Hovhaness with the orchestral spectacle of Dmitri Shostakovich. It is modal – written entirely in F minor/Db major Lydian sonority.
Wonder Spirit features numerous and significant solos for several instruments. There is an extended flute solo over sustained ethereal string harmonics. A long recitative-like bassoon solo gradually builds to a duet with clarinet and then full orchestra. A muted violin solo evokes a brittle, ice-like texture. The main theme is presented in a duet by trombone and trumpet.
The piece attempts to create an inviting sound world that lifts the spirit and delights the ears.
Wonder Spirit began as a solo piano piece composed in 1993. This setting was arranged for orchestra by the composer in 2023.
Clicking the link below will open the score in a new browser tab.