Watermusic (solo piano)
This piece creates sound-pictures more than tells a story. When my composition teacher, Robert Ehle, heard it, he called it "variations on 'Twinkle Twinkle Little Star' in the style of Debussy."
Adam Sees Eve (solo piano)
The music begins slowly, as if some beauty is seen for the first time, and only gradually settles into consciousness. But when it settles in, there is a feeling of intense delight. After the initial excitement, however, observation and examination continue, leading again to the feeling of breathlessness.
Song of Songs Interlude (guitar, cello, and flute)
This is an instrumental interlude in my song cycle for Baritone, flute, guitar, and cello, based on the Biblical love poem. The symbolism in the poetry is racy, and this piece is an attempt to convert that into pure music.
Deed of Prowess (saxophone quartet)
Even though I call this piece "Deed of Prowess," one might bring one's own imagination to what these sounds mean. In the introductory section each of the four instruments enter sequentially, and the texture and energy gradually intensifies, establishing the powers of the quartet. Then the energy subsides for an interlude of quiet banter. The energy level here is latent. The quartet could do something grandiose if they wanted to, but they aren't for some reason, probably because they're waiting for an opportunity. Finally the opportunity comes and they explode into action. This is the "Deed of Prowess." The energy level is highest of all, and the speed and complexity is coupled with an intentionality that makes the music sound like there's a scrap going on: and the quartet is cleaning house. Soon the imaginary oponent is wrestled to the ground and defeated. The initial theme of the quartet is presented now with a newly-gained confidence that would not have come without the foregoing process. Victory is claimed and the music comes to rest.