Works

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.

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. The version for flute and one tuba (see above) is quite challenging for the flute and virtuosic for the tuba. This version of the piece (for flute and two tubas) provides an “assistant principal” tuba to aid in the extraordinary technical demands on the first tuba.

I have long believed that a musical composition is a personal communication between the composer and each individual listener. The composer is saying something specific to the listener that might be interpreted as exciting, dull, engrossing, tedious, moving, or simply anodyne — much like the conversations we have with each other every day. Although the title of each “story” (“Barcelona”, “Berceuse”, “Caracas”) alludes to a different culture, no attempt has been made to evoke local music. Each story has something to say — exactly what that is isn’t important. How each listener responds to the tales is all that matters.

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.

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.

A Tre is a three-voice fugue for solo flute.
Grand Prize, 1990 Delius Composition Competition
Winner, 1991 NFA Newly Published Music Competition