LARGE ENSEMBLE:

I have written several works for large bands and orchestras. I have included here an orchestral overture, a concerto for French horn that is actually a cycle of tone poems, a violin concerto, and a work for large wind ensemble. Works for large ensemble that include voice are found under “Songs and Choral Music.”

Dharma (1982, revised 2001) fl, ob, cl, bn, 2 hn, tpt, timp, perc, strings

The title of Dharma refers to cosmic law or universal truth in Hinduism and Buddhism. The piece is not referential to Indian music, but one can imagine the trumpet guiding and sometimes gathering forces is if to direct or point the way.

Images from Goldsmith (2001) Horn Concerto. French Horn soloist; 2 cl, 2 bn, strings

Oliver Goldsmith wrote the “The Traveller” in 1764 in which he expresses his impressions and feelings about the places and peoples of Europe. The titles of the movements are drawn from evocative phrases from the poem.

I. These rocks by custom turn to beds of down (Ireland)

II. Sprightly land of mirth and social ease (France)

III. I see the lords of human kind pass by (England)

IV. Where the broad ocean leans against the land (Netherlands)

Concerto for Violin and Orchestra (1999) Violin soloist; 2 fl, 2 ob, 2 cl, 2 bn, 2 hn, 2 tpt, 2 tbn, tuba, harp, timp, 2 perc, strings

The grand design of this concerto follows classic patterns; the first movement is vaguely in sonata form, the second is a straight-forward largo, the third—an extra movement—is like a scherzo, and the last movement is a culminating finale. The work is dedicated to colleague Liz Rowin, who requested the work. It was commissioned by David Daniels of the Warren Symphony and the Oakland Symphony. Liz and I traveled to Prague in 2001 to record the work with the Czech National Orchestra, conducted by Paul Freeman.

The movement titles evoke astronomical motion. The first three suggest perpetual cyclical repetition, while the final movement, labeled “progression,” never repeats. Instead it is built on an ever-accelerating tempo, from 2 beats per minute (demarcated by the snare and bass drum) to a speed nearly 70 times faster by the end through a sequence of tempo changes and metric modulations. Movements III and IV are to be performed together without pause.

I. Circles

II. Orbits

III. Rotations

IV. Progression