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A Due (2008)Duration: 4’
Instrumentation: bass, piano
Commission: Basso Moderno, for their touring repertoire. Premiere, Hartford Women Composers’ Festival, 2008, additional performances, TBA.
Explores how the sound worlds of bass and piano overlap and contrast. The opening is an improvisatory crescendo-diminuendo in which the players to attune to one another. An equal partnership between the instruments, with some use of extended techniques. The overall mood – meditative, lyrical, impassioned.
Strange Cohabitation (2007)
Three short character pieces inspired by Nancy Bogen’s story, Twelve Tone Blues. The piece describes the character and the relationship of an old married couple - a pair of opposites who complement each other, but sometimes ruffle each other’s feathers. He’s a self-serious composer; she a whimsical intellectual. Musical jokes abound, as well as lyricism, and a chance for theatrics if the players are so-inclined.
My American Shtetl (2007)
Two Sholom Aleichem stories abridged, paraphrased and with added commentary by his granddaughter, the author, Bel Kaufman (Up the Down Staircase). Tells the Jewish immigrant’s tale with humor and pathos, laughter through tears. Music weaves strands of Klezmer dance tunes, Yiddish songs, ragime, and jazz, with a modern classical approach.
Finding Accord (2005)
Explores the three voices of the piano trio as they go in and out of agreement with one another. Violinist doubles on light percussion in a few places. Some simple preparation of the piano.
Dance and incidental music from the The Ugly Duckling. Three short movements - Duckling Dance, Ducks in Summer, and Duck Etiquette. From funny to lyrical.
Dialogues with the Distant Mountains (1987/rev. 2005)
Three short movements, early 20th century French feeling combines with a bluesy aspect, and a bit of Bulgarian rhythm.
Visions Fugitives (2008)
Duration: N/A - ongoing
A set of very short piano pieces – ephemera, an ouvre inspired by Prokofiev. The first eight were evoked by my summer residency in Taos. Others in the works.
A wanderlust of a piece, a modern day ricerare, one theme leading to the next, sometimes inevitably, sometimes with surprise. Opportunity for virtuosity can be tailored to your temperament. Opportunity for embellishment and improvisation harkens to the Baroque.
A dialogue of opposites, the music explores a range of lyric and percussive possibilities. I hope that each performer will make it his or her, own rant.
Chain Reaction (2008)
Text by Debra Kaye
An ultimately hopeful song about global warming. Lyrical and dramatic, Joni Mitchell meets art song with a bit of drama queen thrown in, giving the prima donna a chance to laugh at herself. At times, the singer plays on the piano strings. Tessitura is mostly in the mid-range.
Slants of Light – Four songs on poems of Emily Dickinson (2003)
The cycle includes the following poems: Not Knowing, There’s a Certain Slant of light, I Heard a Fly Buzz when I Died, and This is the Land the Sunset Washes. Piano is equal partner to the voice.
Where You Are (2002)
Poem by Walt Whitman
Where the Sidewalk Ends – 21 songs with poems by Shel Silverstein (1990)
Poems by Shel Silverstein
Shel Silverstein’s funny and clever poems are set with simplicity and drama in a folk influenced modern classical style.
The Ugly Duckling (1998)
Duration: 1 hour
A musical version of Hans Christian Andersen’s classic tale. Produced by Literally Alive Children’s Theater (www.literallyalive.com). Premiere 1998, Little Theater at the Westside Y. Additional productions in 2000, and 2006. Over 100 performances. Favorable notices in the NY Times.
The North Wind and the Sun (1995)
Premiered at Mannes College of Music, second performance at Steinway Hall.
Counting Sheep (1988)
Premiered Atlanta, GA, additional performances in CA, and at Steinway Hall.
Time to Rise (1998)
Poem by Robert Louis Stevenson
The Country Mouse & the City Mouse (1998)
Poem by Richard Scrafton Sharpe
A mini-opera, the song tells the famous story. Combines the simplicity of folk music and operatic styles. Piano is an equal partner.
For Young Pianists
Getting Ready for the Guests (2000)
The left hand plays a staccato, quarter note middle C throughout, while right hand ventures into sixteenth notes. Inspired by the irregular patterns in Scarlatti, students with a good ear can learn the piece by rote. Meant to evoke the rushing around and cleaning up before the guests arrive, the piece ends with a laugh, the doorbell rings.
5 finger pieces