Two large contrasting movement. The first ('Fantasy') is alternately rhapsodic, intense, & wistful. The second ('Dance') is a spirited, boisterous, contrapuntal dance. Virtuosic writing, especially for piano. Pf player reads from score.

Stallcop Piano Trio excerpt

a sprightly, expressive work in two movements: 1. Cantilena, a lyric song (arranged from a trio for piano and strings), and 2. Swingtime, a jazzy romp completed at the Rockefeller Study Center in Bellagio, Italy. Written for David Pituch.

Excerpt - 1st movement

This single movement work is structured as follows: [A – variation1(a) – var2(a) – B – var1(b) – var2(b) – var2(c)– var1(c) – C]. Capital letters refer to themes, “var” refers to the different variations upon those themes. Although there is only one continuous movement, it is divided into three sections with the aforementioned contrasting variations. “A” is a transcription of a prison work song ‘I had five long years’ recorded at the notorious Angola State Penitentiary in Louisiana in 1959 by Harry Oster (released on Folk-Lyric Recording Co., Louisiana Folklore Society). The original singer was James Russell and some other inmates.

Davidson5LongYears-Solarisexcerpt.mp3

Written at the request of pianist William Masselos, the work consists of a delicate minuet-like theme centered around the key of G, followed by twelve contrasting variations and a majestic coda.

Excerpt, Max Lifchitz, piano N/S Recordings 1992

Commissioned by the Barlow Foundation for Kenneth Tse

excerpt - Arirang

Silencios Imaginados (Imagined Silences) was written in the spring of 2001 for the Assisi Musiche Ensemble who premiered the work at the chamber music festival in Assisi, Italy in August of the same year. It has subsequently performed by the ensemble at other concerts and festivals in Italy. The work features the subtle interplay and counterpoint between the timbres available on the instruments in the ensemble. In addition the clarinet and flute registers and timbres are expanded with the addition of bass clarinet, alto flute, and piccolo being doubled by the clarinetist and the flutist throughout the work. Subtle gradations in the vibrato used by the instruments as well as a variety of delicate articulations, bowings, and effects performed inside the piano, are some of the more important details that are presented in counterpoint throughout the piece and that are the focus of the work. As with much of my music the counterpoint between registration, timbre, instrumentation, and pacing as well as the exploration of the point where sound ends and silence begins are primary concerns (and hence the title).

NODUS - "Imaginary Silences" excerpt (Innova)

1. A Man Who Wasn't; 2. Sylvan Catch; 3. Peas with Honey; 4. One Fine October Morning; 5. A Little Bit Wrong  

Five short song settings of five nonsense poems (three anonymous, two credited), which reflects my childhood in New Zealand.

SYLVAN CATCH

A LITTLE BIT WRONG

Second in the Invisible Cities String Quartet Cycle.

"Stars" excerpt, Daedalus Quartet