Travels with Mozart, Variations on a Theme from the Magic Flute

(2016) – 15:36

2(2=picc).2(2=Eh).2.2./2.1.0.0./timp(+perc).1perc./0.0.0.0.1.

  1. Theme “Bei Männern, welche Liebe fühlen” – 1:30
  2. Variation I, London- Symphony no.1 – :50
  3. Variation II, Munich- Minuet – 1:20
  4. Variation III, Mannheim- The Mannheim Orchestra – 1:30
  5. Variation IV, Rome- Allegri’s Miserere – 3:10
  6. Variation V, Prague- Furiant – 1:10
  7. Variation VI, Vienna- TheTurkish Influence – 2:30
  8. Variation VII, Paris- Gavotte – 1:30
  9. Finale, Naples- Tarantella – 4:00

Other version: Chamber Orchestra (2005)

Romance for Clarinet, String Orchestra, Piano and/or Harp

(2005) – 9:10                                                                                      

Other Versions: also named Cinema for Orchestra (original), Duetto Amoroso for Flute, English Horn and Orchestra  

Other Version: Clarinet and Piano by Sergei Kofman, assisted by the composer

In Memoriam J.S. Bach, for Viola, String Orchestra and Harpsichord

2008) – 11:50 

  1.   Sarabande – 6:00
  2.   Capriccio – 5:50

(Harpsichord part is optional)

(Formerly named Concerto for Viola)

Other Versions:

  1. A) Partita (In Memory of J.S. Bach), Violin and Chamber Orchestra, Violin and Piano (2000)
  2. B) Sarabande and Capriccio movements: In Memoriam J.S. Bach, for Viola, String Orchestra and Harpsichord; In Memoriam J.S. Bach, for Violin and Chamber Ensemble (Nonet); Viola and Piano
  3. C) Sarabande movement: Viola and Chamber Orchestra; Flute, Violin and Piano (or Organ); Violin and Organ; and Viola and Piano
  4. D) Capriccio movement: String Quartet, String Quintet (quartet and bass), and Septet

Mirage (string orchestra)

Other Versions: Orchestra, Chamber Orchestra and Quintet

Date: 2010

Duration:  9:45

Notes:

My intent in this composition is to explore the shifting and illusionary world of the dream state. Mirage begins with a slow meditative introduction representing the act of falling asleep. A solo viola cadenza follows, starting a sequence of musical episodes, each emphasizing different emotions and parts of a dream. As the string orchestra enters, the music takes on a melancholy air with occasional mysterious interludes. In the next section, the music speeds up and takes on a restless and more intense character employing a bluesy and jazz-infused theme. The music moves into a more flowing and serene section before leading into a faster and more agitated section representing the dream taking a more troubled direction. Leading to an unsettling climax, the music abruptly stops leaving silence. The original meditative music returns as the dreamer starts to awake entering that in-between world of wondering if the dream was real or not.

Analysis

          Mirage is based on three musical motifs which are continuously evolving and developing, giving the music an unstable yet unified character. The first two motifs are heard in the opening five bars. The third motif is introduced in the first allegro section. The form can be considered a fantasia or fantasy variation.

Motif 1 – ascending perfect 5th, minor 2nd, and perfect 5th (bars 1-3)

Motif 2 – descending minor 2nd, and major 3rd, then an ascending major 2nd (bars 4-5)

Motif 3 – ascending minor 3rd, major 2nd, and minor 3rd (bars 44-45)

Commissioning and First Performance

Mirage was originally composed for orchestra and was commissioned by the Orchestras Mississauga (John Barnum, music director) with the assistance of a Canada Council for the Arts composer residency grant. The re-orchestrated version of Mirage for string orchestra was commissioned by the Orchestras Mississauga and Soundstreams Canada (Lawrence Cherney, artistic director) and again was assisted by the Canada Council for Arts composer residency grant. The first performance of the string orchestra version was on February 19, 2007 at the Glenn Gould Studio, Toronto, featuring the Amici Strings and the University of Toronto Schools String Ensemble conducted by Joaquin Valdepenas.