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.

Simple Serenades was composed in 2013 for Gabriel Beavers, Professor of Bassoon at the University of Miami. The title reflects the fact that each movement emphasizes the lyrical qualities of the bassoon.

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.

The first movement, “Berceuse pour la Nouvelle-Orléans”, is a lullaby for a damaged New Orleans. The second movement, “Passacaglia”, is a set of variations on a 6-1/2 beat bass line.

A piano reduction of this concerto can be found above under Chamber Music.

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.

The Quintettino was written for and premiered by the Timm Quintet at Louisiana State University. The first movement, “Five-Seven”, consists almost entirely of dominant seventh type (V7) chords. The first and second sections of the second movement (“Rondo”) have a circus-act-gone-bad sound to them: dissonant and rather nasty. The “C” section of the rondo is the only point of repose in the movement.

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.

Guttersnipe is in two short movements each of which explores various extended techniques.

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).

Piano reduction of orchestral version. Orchestral version is available on rental (see below under the Orchestral section).

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 for sale in a piano reduction (see the Chamber Music section above).

Cherubs is a single-movement scherzo which pits a decidedly uncherubic saxophone against the three string instruments. Some extended techniques are used in the sax part. Cherubs was commissioned by an anonymous donor who wished to commemorate Clarence Laughton’s book of photographs entitled “Ghosts Along the Mississippi”.

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