Welcome to my musical scores page. For anyone who has the problem of not being able to view, audit, or print my scores at
sibeliusmusic.com composer pages, this is an alternative access. Each link below will download a pdf file of a score, or a folder in
zip format containing pdf files of a score and part(s). The mp3 audio files were created using Sibelius score notation and playback
software, so while all the notes are certainly all there (which is always nice), these are just digital, grayscale approximations of
what the music can be like in an actual, human colored, performance.
sibeliusmusic.com composer pages, this is an alternative access. Each link below will download a pdf file of a score, or a folder in
zip format containing pdf files of a score and part(s). The mp3 audio files were created using Sibelius score notation and playback
software, so while all the notes are certainly all there (which is always nice), these are just digital, grayscale approximations of
what the music can be like in an actual, human colored, performance.
Thank you for your interest in my compositions, and please do let me know if you are planning to perform any of my works. My
compensation is simply knowing that my music is being enjoyed, but it’s nice to receive a program and a recording when possible
compensation is simply knowing that my music is being enjoyed, but it’s nice to receive a program and a recording when possible
Ensemble
An extended exploration of the ground bass form; of the contrapuntal and emotional dialogue that can be spun out over repeating rhythmic
patterns and harmonies. It also seems to have become something rather seriously transcendental, at least to some, following my only too
brief friendship with musician extraordinaire, Fred Kasper (1952-2000). We had many philosophical discussions, usually after several hours
of playing duos from 18th century facsimiles. Some of those thoughtful back-and-forths touched on the soul and its possible survival and
journey, about all of which he was quite skeptical. I nonetheless dedicate Ritorno to my friend, wherever and whenever he may be, as a kind
of last word on the subject. Well, not last if I was correct!
patterns and harmonies. It also seems to have become something rather seriously transcendental, at least to some, following my only too
brief friendship with musician extraordinaire, Fred Kasper (1952-2000). We had many philosophical discussions, usually after several hours
of playing duos from 18th century facsimiles. Some of those thoughtful back-and-forths touched on the soul and its possible survival and
journey, about all of which he was quite skeptical. I nonetheless dedicate Ritorno to my friend, wherever and whenever he may be, as a kind
of last word on the subject. Well, not last if I was correct!
Vocal
A SPLENDROUS DREAM AT CHRISTMASTIME for:
Meant to be a kind of concert carol, the inspiration for Splendrous came to me in a vivid dream, but it is not about me. The following
account sums it all up: “Christmas as The Cosmic Dimension of Christ‘s Nativity: For much of the ancient Church and for Eastern Orthodox
Christians the annunciation and birth of Christ heralded the restoration of a sanctified cosmos. The incarnation of God in Jesus was not sim-
ply to save the human soul. Rather it restored all creation -- in wonder and joy -- to the human being. Creation was seen again to be God’s
delight. The cosmos was not only created by God. It was, in the words of the patristic theologian Gregory of Nyssa, “the energy of God.”
That is why, in the images of the Nativity of Christ, we see human beings, animals and all of nature rejoice.“
account sums it all up: “Christmas as The Cosmic Dimension of Christ‘s Nativity: For much of the ancient Church and for Eastern Orthodox
Christians the annunciation and birth of Christ heralded the restoration of a sanctified cosmos. The incarnation of God in Jesus was not sim-
ply to save the human soul. Rather it restored all creation -- in wonder and joy -- to the human being. Creation was seen again to be God’s
delight. The cosmos was not only created by God. It was, in the words of the patristic theologian Gregory of Nyssa, “the energy of God.”
That is why, in the images of the Nativity of Christ, we see human beings, animals and all of nature rejoice.“
This little song incorporates Francoin Couperin‘s Les Baricades Mistériuses, originally published for solo harpsichord in 1717. Some purists
may take exception to my use of this beautiful piece, but then they probably aren’t composers. Anyway, this playful setting will work quite
well as wedding or other occasional music. In fact, the underlying harpsichord piece can be used as a prelude! Feel free to double the voice
with a flute or other melody instrument and the bass line with whatever is available to fill out the band, as it was done in the 18th century!
may take exception to my use of this beautiful piece, but then they probably aren’t composers. Anyway, this playful setting will work quite
well as wedding or other occasional music. In fact, the underlying harpsichord piece can be used as a prelude! Feel free to double the voice
with a flute or other melody instrument and the bass line with whatever is available to fill out the band, as it was done in the 18th century!
Keyboard
I originally composed this waltz as a young teenager playing our old upright in our old farm house, where it was easy to dream. I recently
revisited the score to bring out more of what I had in my heart and mind at that time but did not then know how to musically realize. I also
added the opening and closing measures to match the state of mind in which I spent much of my youth. Truth be told, I still spend some of
my time there now. I dedicate this piece to my mother, Benita, who played lots of waltzes and music from far away places and times, and
who gave me my first lessons on that old piano.
revisited the score to bring out more of what I had in my heart and mind at that time but did not then know how to musically realize. I also
added the opening and closing measures to match the state of mind in which I spent much of my youth. Truth be told, I still spend some of
my time there now. I dedicate this piece to my mother, Benita, who played lots of waltzes and music from far away places and times, and
who gave me my first lessons on that old piano.
I began Frederick’s Royal Rag many years ago for a class taught by American composer Stanley Hollingsworth. It has grown in scope and
complexity since then, as befits a piece incorporating the famous theme from J.S. Bach‘s Musical Offering. This twisty tune was originally pre-
sented to Bach by Frederick The Great as a challenge to see what “Old Bach” could do with it. J.S. immediately played a masterly improvisa-
tion, and later wrote the famous Musical Offering to more fully show the extended possibilities, which Frederick did not seem to appreciate.
Consider this as an addition to the tradition, minus Frederick!
complexity since then, as befits a piece incorporating the famous theme from J.S. Bach‘s Musical Offering. This twisty tune was originally pre-
sented to Bach by Frederick The Great as a challenge to see what “Old Bach” could do with it. J.S. immediately played a masterly improvisa-
tion, and later wrote the famous Musical Offering to more fully show the extended possibilities, which Frederick did not seem to appreciate.
Consider this as an addition to the tradition, minus Frederick!
This piece was originally begun in 1977 as part of a tryptich and has been reworked for publication as a personal tribute to Domenico
Scarlatti, and to the traditional Spanish music which inspired him. It should be played with rhythmic precision, nuance, rubato, passion and
flair! Oh, and don‘t forget the sunshine and shadows.
Scarlatti, and to the traditional Spanish music which inspired him. It should be played with rhythmic precision, nuance, rubato, passion and
flair! Oh, and don‘t forget the sunshine and shadows.