Awardvindende Google Marketing Powerhouse

La Cenerentola : Fantasy for Piano Solo

Although based on music from Rossini's opera, this piano solo is influenced by other Romantic composers: Chopin, Schumann, Tchaikovsky, and most of all Franz Liszt, whose transcriptions of songs and operas served as an inspiration. Duration: 11:30

Sojourn 3 : A Clarinet Solo

The B-flat clarinet version was commissioned by and dedicated to clarinetist Eugene Jones, was premiered by Mr. Jones on a concert of chamber music at East Tennessee University in Johnson City, Tennessee, on February 28, 2010. This solo is the third in a series of works by the composer titled “Sojourn” for solo instruments. The single-movement work utilizes a Silesian folk song from Schlesische Volkslieder (used in the hymn Fairest Lord Jesus) as its basis. The opening section features material in quasi-Stravinskian rhythm and meter alternating with material hinting strongly at the folk tune and its variants. Melodic material is gradually transformed to the area of D major asthe fantasy-like treatment of the folk tune begins. After a complete statement in D major, a free variation ensues, also in D major, but is interrupted just before its completion by material from the opening section. Melodic transformation back to the octatonic and hybrid pitch material follows and the piece ends with a showy ascending, then diving, flourish.

Fred J. Cooper Organ Book : Five Compositions for Organ Solo

Commissioned by the Philadelphia Chapter of the American Guild of Organists (AGO), the Fred J. Cooper Organ Book celebrates the tenth anniversary of the Fred J. Cooper Memorial Organ in Verizon Hall at the Kimmel Center in Philadelphia. Five Philadelphia area composers were selected to each contribute an accessible brief solo organ work. Each composer was given a general guideline for the style of piece they were to write. The results are nicely varied, with opportunities for colorful registrations. Useful for worship and recital use.  Contents:Fanfare on Gelobt sei Gott, Matthew Glandorf, Duration:2:30Reflection, Kile Smith, Duration: 6:00Kokopelli: Trickster God, David Schelat, Duration: 5:00Organum, Kathleen Scheide, Duration: 4:15Philadelphia Flourish, Jeffrey Brillhart, Duration: 5:00

Variations for Violoncello Solo

Fantasia for Solo Cello

Jazz Variations for Solo Bassoon

Five Transcriptions for Organ Solo

Four Etudes for Solo Harp

Concerto : For Piccolo Solo and Chamber Orchestra

Concerto : For Piccolo Solo and Chamber Orchestra

To Canaan's Land I'm on My Way

This work opens with a simple soprano solo followed by the entrance of the choir in a style reminiscent of early American part-writing. The text is both hopeful and peaceful.

Sentiment : Monodrama for Soprano Solo unaccomapnied on Texts by Caitlin Vincent

Legends of Kintamani : Concerto for Violoncello Solo and Orchestra, Cello/Piano Score and Part

Psalm 1

In Spring

A short song cycle using a solo (unaccompanied) voice to vocalize the fanciful and magical poems of E. E. Cummings with glissandi, whistling, ghostly whispered notes and long melismas drawing out the sounds inside words, stretching them like taffy…all these types of extended techniques are added to beautifully sung lyrical phrases to capture the playfulness and variety of the season of Spring.

Symphony No. 1

Serenade No. 1

Aria and Fugue

The Aria features a lyrical, somewhat melancholy melody in the solo instrument which is continually supported by rich, regularly pulsating chords in the accompaniment. Contrasting sections are faster and mysterious in character, with a return to the opening idea. The Fugue is based on a subject, both lively and melancholy, in compound meter. This subject is treated with standard devices of development, including inversion and augmentation.

Fanfare and Cortège

The composer dedicated this to Dr. Wilma Jensen. The Fanfare portion is for solo trumpet stop dialoguing with full organ. Snappy but majestic, the contemporary tonal language adds to the flair. The Cortège theme is stated twice, first in minor, then major. A snippet of the Fanfare returns, the trumpet having the last word amid some pedal motifs (one in octaves). Duration: 3:00

Aria and Fugue

The Aria features a lyrical, somewhat melancholy melody in the solo instrument which is continually supported by rich, regularly pulsating chords in the accompaniment. Contrasting sections are faster and mysterious in character, with a return to the opening idea. The Fugue is based on a subject, both lively and melancholy, in compound meter. This subject is treated with standard devices of development, including inversion and augmentation.

Aria and Fugue

The Aria features a lyrical, somewhat melancholy melody in the solo instrument which is continually supported by rich, regularly pulsating chords in the accompaniment. Contrasting sections are faster and mysterious in character, with a return to the opening idea. The Fugue is based on a subject, both lively and melancholy, in compound meter. This subject is treated with standard devices of development, including inversion and augmentation.

Ringeltanze: 1. Welcome Yule

Piano Sonata, No. 1

Humoresque, Opus 4/1

Sojourn 3

Commissioned by and dedicated to clarinetist Eugene Jones, was premiered by Mr. Jones on a concert of chamber music at East Tennessee University in Johnson City, Tennessee, on February 28, 2010. This solo is the third in a series of works by the composer titled “Sojourn” for solo instruments. The single-movement work utilizes a Silesian folk song from Schlesische Volkslieder (used in the hymn Fairest Lord Jesus) as its basis. The opening section features material in quasi-Stravinskian rhythm and meter alternating with material hinting strongly at the folk tune and its variants. Melodic material is gradually transformed to the area of D major as the fantasy-like treatment of thefolk tune begins. After a complete statement in D major, a free variation ensues, also in D major, but is interrupted just before its completion by material from the opening section. Melodic transformation back to the octatonic and hybrid pitch material follows and the piece ends with a showy ascending, then diving, flourish.