Dances with Time for Solo Flute (with Piccolo and Alto Flute), Solo Cello,
Clarinet, Bassoon, Percussion and String Orchestra

Instrumentation:

Solo fl.(doubling picc. and afl.), cello/0.0.1.1./0.0.0.0./1perc./strings

Other Versions: Flute(s), Cello and Piano; Two violins, Cello and Piano version of Danzón (2017)

Date: 2004

Duration:  27:00

  1. Fantasia on an In Nomine (by John Taverner, c.1490-1545) – 8:10
  2. Tambourin and Tango passacaglia (inspired by a theme of Pancrace Royer, 1705-1755) – 4:20
  3. Chanson de Nuit (inspired by a theme of Etienne Royer, 1882-1928) – 6:20
  4. Danzón (inspired by the City of Los Angeles) – 8:10
Notes:

When flutist Patrick Gallois and cellist Shauna Rolston approached me with the idea of writing a double concerto for them, I was excited at the idea of composing for these superb musicians, as well as featuring two instruments dear to my heart.  Throughout my childhood, I was immersed in music, coming from a family of professional musicians.  I heard piano, flute and cello regularly from my pianist mother, flutist aunt and my grandfather who was a cellist and also my first cello teacher.

I realized this concerto was to begin a very personal journey for me, sending me in search of my cultural identity.  My father’s family journeyed from France, settling in Sherbrooke, Quebec, while my mother’s family moved to the United States from Italy.  I grew up in Los Angeles, married a Canadian and immigrated to Canada in 1985, having been exposed to a variety of cultures and artistic endeavours along the way.  Diverse musical influences from Canada, France, Italy, the U.S. and Latin America have been resonating with me throughout the project.  I have also explored the music of other “Royer composers”:  Pancrace Royer (1705-1755) who was a court composer to Louis XV of France and a later musician, Etienne Royer (1882-1928).  The interplay of historical figures as they intersected with a cultural heritage has proven to be an inspiration to the framework of this composition.

Dances with Time is a synthesis of historical and cultural elements spanning more than five hundred years of music history, from a Medieval Sarum antiphon through to the present, and integrating cultural influences from Europe and the Americas.  This past overshadows its present-day context and its continuing relevance and resonance echo through the concerto.  The concerto opens with Fantasia on an In Nomine by John Taverner (c. 1490-1545).  Originally part of the Mass Gloria tibi Trinitas, then transcribed for a consort of viols, this particular In Nomine had tremendous influence over a succession of English composers for one hundred and fifty years.  A prominent modern composer who utilizes its material is Peter Maxwell Davies.  In my concerto can be heard a fragment of the original Sarum antiphon, as well as a tribute to Taverner’s masterful use of counterpoint.  It plays a role in the development of the musical material throughout the entire concerto, and provides a point of unity in this context.

The second movement, Tambourin and Tango Passacaglia, is inspired by a theme of Pancrace Royer from his opera-ballet Almasis.  Its first performance took place in the Palace of Versailles in 1748 and starred the King’s mistress, Madame de Pompadour.  The Tango Passacaglia pays tribute to the great tango composer, Astor Piazzolla.  The Tango is linked to the Tambourin through the concept of a baroque passacaglia, with Taverner counterpoint as the basso ostinato and the Sarum antiphon fragment as the melody.

The third movement, Night Song, is inspired by a theme of Etienne Royer, taken from a piano trio dedicated to French pianist Ricardo Vines.  Vines proved an inspiration for Ravel, so in this movement I employ the alto flute for a Daphnis and Chloe-like colour.  In the fourth movement Danzon, the In Nomine musical material is transformed through the prism of my birthplace, Los Angeles, which contributes Latin American, Jazz, and a touch of Film Noir musical elements.

Commissioning and First Performances

Dances With Time for Solo Flute (with Piccolo and Alto Flute), Solo Cello, Clarinet, Bassoon, Percussion and String Orchestra was commissioned by Orchestras Mississauga and Sinfonia Finlandia (Finland), supported by a Canada Council for the Arts Composer Residency Grant.

First performances: September 22, 2004, at the City Theatre of Jyvaskyla, Finland, Patrick Gallois flute and conductor, Shauna Rolston cello, Sinfonia Finlandia; and February 5, 2005, Living Arts Centre, Mississauga, Louise DiTullio flute, Shauna Rolston cello, Mississauga Symphony, John Barnum conductor.

A Festive Overture

Instrumentation:

2(2=picc).2(2=ehn).2.2./4.2.3.1./timp.2perc./strings

(alternate part for 1 percussion)

Other Versions: Chamber Orchestra and Septet

Notes:

Festive Overture is based on, and inspired by, a short overture that I wrote for a young people’s theatre project called A Storyteller’s Bag. Based on three Ojibway stories, this project was developed by Peggy Hills McGuire, music director of The Chamber Music Society of Mississauga (and principal second violinist of the Mississauga Symphony). Besides the overture, I wrote the music to the story called The Star Lily.

After I was commissioned to compose a symphonic overture for the Mississauga Symphony, I had the idea of lengthening The Storyteller’s Bag Overture from three to seven minutes and expanding the instrumentation from seven musicians (clarinet, string quintet and percussion) to a full orchestra. After discussing this idea with the music director of the Mississauga Symphony, John Barnum, I began the process of transforming The Storyteller’s Bag Overture into what would become the Festive Overture. This resulting Overture changed a simple three-part ternary form into a more developed and complex sonata allegro form, allowing for several variations of the introductory material and the first or main theme (heard first by unison strings). The second theme (first heard by the solo clarinet) also received a second and varied appearance. Since the original idea of both overtures was to capture some of the joyful enthusiasm and wonder of youth, I was very pleased when the Hamilton Philharmonic Youth Orchestra asked to co-sponsor the commissioning of the Festive Overture.

Commissioning and First Performances:

Festive Overture was co-commissioned by the Mississauga Symphonic Association and the Hamilton Philharmonic Youth Orchestra. The Mississauga Symphony, John Barnum music director and conductor, gave their premiere on March 27, 2004 at the Hammerston Hall, Living Arts Centre, Mississauga, Ontario. The Hamilton Philharmonic Youth Orchestra, Glenn Mallory music director and conductor, gave their premiere on May 22, 2004, at the Great Hall, Hamilton Place, Hamilton, Ontario. This was part of a special 40th Anniversary Concert celebrating the foundation of the orchestra and Glenn Mallory’s directorship. The Hamilton Philharmonic Youth Orchestra received funding for the commission as part of an Ontario Trillium Grant project.

Cinema

Instrumentation:

2.2.2.2./4.3.3.1./timp.1perc.hp./strings

(harp and 3rd trumpet are optional)

Other Versions: Romance for Clarinet, String Orchestra, Piano and/or Harp; and Duetto Amoroso for Flute, English Horn and Orchestra  

Romance for Clarinet, String Orchestra, Piano and Harp (9:10), 2004

Notes:

The Romance for Clarinet, String Orchestra, Piano and Harp was rewritten in the fall of 2004 for clarinetist Jerome Summers based on a previously composed orchestral piece called Cinema, which had been written the previous winter.  Cinema was commissioned for a special 40th anniversary concert to celebrate the foundation of the Hamilton Philharmonic Youth Orchestra and Dr. Glenn Mallory’s directorship. I had asked Glenn to describe his dream composition for this project.  After some thought, Glenn said he would love a piece featuring a beautiful romantic melody.

Today, one of the fields of musical composition that most highly values sweeping romantic melody is music for film.  Having worked in Los Angeles for the motion picture and television industry during the 1980’s, I decided to draw on this experience to compose Cinema.  Combining both American and European influences, Cinema and therefore Romance was written in two sections.  In this version called Romance, the opening section has a “Magical” atmosphere created by the strings, piano and harp against a more improvisatory and melodic clarinet part ending with a solo clarinet cadenza.  In the second section, the main romantic melody is first heard in the clarinet.  This section also includes a darker “film noir” melody featuring a solo violin and cello with the clarinet.  Romance ends as it began, quietly and calmly.

Romance was first performed by clarinetist Jerome Summers and the Toronto Sinfonietta conducted by Ronald Royer at the Royal Ontario Museum in Toronto on January 23, 2005.

Commissioning and First Performance

Cinema for Orchestra was commissioned by the Hamilton Philharmonic Youth Orchestra, as part of an Ontario Trillium Grant project connected to the 40th anniversary of the orchestra.

First performance: May 22, 2004, Great Hall, Hamilton Place, Hamilton, Hamilton Philharmonic Youth Orchestra, Dr. Glenn A. Mallory conductor.