Soprano, Minkyung Lee beautifully captures the emotional essence of this song in her stunning performance on the Lux Musicae “Soloists” April 4, 2017 concert program at the Palmetto Center for the Arts.
These days – text
A reflection and questioning of life transitions and loves. At Night-text
Video features a recent InterXChange concert performance by Melanie Mitrano, with Gerson Galante on clarinet in São Paulo, Brazil. (A score of this version is available to purchase via the Score link.)
SoundCloud track is the world premiere performance by mezzo-soprano Donna Balson.
Program note: Commenting on the media carnival spin overlaid onto the news.
Program note: Emotional memory of travels, painted with a brush of modal sound. (Later expanded to “Memories of Place” scored for chamber orchestra)
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