Works

Tal Para Qual was written for the Duo Westklang, Daniel Ahlert (mandolin) and Nicola Yasmin Stock (guitar) and premiered in Rödental, Germany in 2022. “Tal Para Qual” (“Two of a Kind” or “They Were Made For Each Other”) is one of Francisco Goya’s wonderful prints from his collection “Los Caprichos” (The Caprices) created in 1797-98. The 80 prints reflected his criticism of the Spanish society in which he lived. Tal Para Qual addresses the love relationships between men and women and can be interpreted in a variety of ways. In my Tal Para Qual I have tried to portray two different characters: a rather abstract and cerebral mandolin, and a more traditional and lyrical guitar. In the final sections, however, they begin overlapping and then exchanging musical material, bringing into question just how different their personalities really are.

Air was written for Katherine Kemler (flute) and Griffin Campbell (alto sax), each a Professor of Music at LSU. The first movement uses a variety of extended techniques including air sounds, key clicks, pitch bends, multiphonics (two or more notes played simultaneously), and harmonics. The second movement is a simple ABA form in a fast tempo. In the movement’s final section, however, the instruments start together but diverge as the flute speeds up while the saxophone slows down.

My Divertimento for flute and viola was written for flutist Katherine Kemler (Professor of Music at Louisiana State University) and violist Matthew Daline (former Professor of Music at Bowling Green State University). This arrangement for violin and viola was made at the request of Professor Daline.

Settings of “Walking Across the Atlantic,” “Budapest,” and “The Dead.”

Selections from Four Cajun Songs arranged for voice and piano.

The Devil’s Dictionary was commissioned by and is dedicated to Dr. Mark Ostoich, Professor of Oboe at the Cincinnati College-Conservatory of Music. Each of the work’s three movements was inspired by a word definition found in Ambrose Bierce’s sardonic lexicon “The Devil’s Dictionary”. The first movement, “Dawn”, evokes the strange sounds heard as the sun rises. “Fiddle” was inspired by the fiddling of the great Louisiana Creole fiddler Canray Fontenot. The final short movement, “Circus”, is my little homage to the greatest work ever written for dancing elephants: Igor Stravinsky’s “Circus Polka”.

The first movement, “Summer Morning By A Lake”, is a canon using a single multiphonic in both saxes. The second movement, “Scag ‘m”, is based on notes derived from the names of the two saxophonists (Griffin M. Campbell and Michael A. Straus) for whom the piece was written.

The first movement should be played on two saxophones of the same type (2 altos, 2 tenors, etc.). The second movement should be played by two saxophones pitched in the same key (2 altos, alto and bari, soprano and tenor, etc.).

Each performer plays from a score. Two scores are included in the purchase price.

Janus consists of two highly contrasting pieces which may be performed as a group or separately. Extended techniques are used in the first piece.
Janus was commissioned by Christopher and Leigh Ann Rettie.

Hambidge Quavers is a one-movement work in three main sections. The first section (Molto Allegro) introduces and develops a melody first stated in the oboe. The second section (Meno Mosso) begins by superimposing a tranquil melody in the oboe over a nervous, staccato figure in the bassoon. The last section (Presto) reintroduces some ideas from the first section and makes use of two new melodies. Hambidge Quavers was commissioned and premiered by Mark Ostoich and William Ludwig.

Each of the composition’s four movements is based on a different Cajun folk song. Each folk song is used as the starting point for a new composition which only alludes to the original’s melody and harmony.

Winner, 1995 National Flute Association Newly Published Music Competition

The two movements of Florestan & Eusebius evoke the characteristics of Robert Schumann’s imaginary characters. Eusebius represented Schumann’s cerebral, introspective side, while Florestan represented his passionate, emotional side. This version of the piece (for flute and one tuba) is quite challenging for the flute and virtuosic for the tuba. The flute and two-tuba version (see above) provides an “assistant principal” tuba to aid in the extraordinary technical demands on the first tuba.

The first movement, “Canray’s Dream”, is my little homage to the great Louisiana Creole fiddler, Canray Fontenot. The second movement, “Molto Tranquillo”, is a slow, lyrical movement that uses flute and viola harmonics in the outer sections. The finale, “Cajun Riviera”, make use of some Cajun fiddling techniques along with clashing polyrhythms between the two instruments.

The piano part in the first movement of this version of Das Echo differs somewhat from the alto saxophone version. Saxophonists may order both versions for $35. Contact Magnolia Music Press directly (via email or phone) to order both versions.

Das Echo von New Orleans is a three-movement fantasy on the German Catholic hymn, Grosser Gott. I decided to use this hymn tune after hearing a performance of it by an amateur church choir in the tiny community of Roberts Cove, Louisiana in November of 2005. In fact, a recording of that performance begins this piece (a CD is included with the score and part). Early in the composition of Das Echo, I decided to avoid a straightforward theme and variations on the hymn tune. In fact, the melody is never completely stated in any movement. Instead, I decided to allude only to snippets of the melody. Somehow, I felt this was more appropriate given the physical and emotional turmoil left in the wake of Hurricane Katrina.

Das Echo was commissioned by saxophonist Farrell Vernon.

The subtitle of this work is “Latin Steps” since each movement makes use of various Latin-American dance rhythms. Much of the first movement uses a rumba rhythm in a moderate tempo. The second movement is a tango, and the finale is a fast dance in 6/8. The work’s harmonic language, however, is quite chromatic and makes no attempt to evoke folk music.

This work is also available on rental for alto saxophone and wind ensemble (see the Wind Ensemble section below).

This work is divided into two large sections. The opening section is slow and lyrical and gradually exposes the six “polychords” on which the entire piece is based. The second section is quite fast and consists of eleven variations on the chord progression (and motive) found in the opening section.

Chaconne was a required work for Tuba Artist finalists in the 2004 Falcone International Euphonium-Tuba Competition, for the Tuba Artist semifinalists in the 2010 ITEA Competition, and for the Tuba Artist semifinalists in the 2014 Falcone Competition.