Program note: Commenting on the media carnival spin overlaid onto the news.
An anxious lament for love lost. The emotional context begins from a point of sadness and feeling that there is no escape, then transmutes into edgy feelings of anger against the emotional pain. It takes musical inspiration from the plainsong, “Dies Irae”.
Program note: Emotional memory of travels, painted with a brush of modal sound. (Later expanded to “Memories of Place” scored for chamber orchestra)
Tangents derives its name from divergent musical lines that seem to arrive and depart from a musical center, much like fragments of thoughts that tangentially pass through conversations.
(Audio is a midi realization for wind quintet)
(Perusal score is for wind quintet)
Evocative of the elemental dissonance, repetition and rhythmic pulse of the city street sounds, as well as, the cyclical moods as day transitions to quieter night hours, then picks up rhythmically once again as morning approaches.
Chamber version of the first of a set of three sequential nocturnes for orchestra entitled “Disturbances.“ (Premiered 2000, NYC)
Resistance to the application of logical reasoning to emotional complexities. – RW
(Video features a 2001 NYC concert performance: Jacqueline Leclair, ob; Richard Vrotney, bsn; Theresa Salomon, vln; Liuh-Wen Ting, vla; Ariane Lallemand, vc.)
(Score purchase link is the version for wind quintet.)
Dark Dreams was inspired by a painting by Jared FitzGerald, and is dedicated to him. The germinating idea for the piece relates to its image of an angel in the moonlight, wrestling with a shadowy figure. “Dark Dreams” extends the metaphor to the struggles with “emotional demons” confronted in life. – RW
Video features the 2001 premiere with Jacqueline Leclair, Eng. hrn; Evan Spritzer, cl; Richard Vrotney, bsn; Joseph Kubera, pno; Vita Wallace & Theresa Salomon, vlns; Liuh-Wen Ting, vla; Ariane Lallemand, vc.
Memories of Place arose from emotional memories of a time traveling and living in Greece, Egypt and Turkey. It is a recollection of that time, not as a literal transcription of melodies, but rather as an emotional memory of aural textures, painted with a broad brush of modal sound. – RW