Animalogy (2006)
Woodwind Quintet for flute, oboe, clarinet, horn, bassoon
Duration: ca. 7:30
Published by Kenter Canyon Music (ASCAP)

ANIMA-in Jungian psychology, the true inner self as opposed to the outer persona.

Animalogy (n.): The not-very-serious study of the many varieties of animals found in their natural habitats in and around the Kenai Peninsula in Alaska as viewed through the eyes and ears of this human animal/composer during her myriad adventures throughout the area. A musical portrait of the various creatures living and procreating in the Kenai Peninsula including, but not limited to, the many varieties of birds, bald eagles, bears, moose(s), sheep, wolves, and sea life that inhabit this spectacular piece of real estate. It is up to you, the listener and performer, to catch glimpses of the various animals as they go about their daily tasks and pleasures.

Animalogy was commissioned in 2006 for the Continental Harmony Project, Alaska, generously funded by the National Endowment for the Arts and The American Composers Forum. It is the middle movement of An Alaskan Symphony that is scored for full orchestra, woodwind quintet and choir and orchestra. Animalogy was premiered at The Pratt Museum in Homer, AK June 16th, 2006. The complete Alaskan Symphony was premiered in Homer and Kenai, Alaska in April of 2007 by the Kenai Peninsula Orchestra and choirs under the direction of Mark Robinson. Animalogy is a winner of the 2007 Aeros Quintet Competition and will be performed in Carnegie Hall's Zankel Hall on May 5, 2008.

Bassoonet Boogie (2003)
Duet for Clarinet and Bassoon
Duration: approx 3:50
Published by Kenter Canyon Music (ASCAP)

A playful and deliciously fun piece for clarinet and bassoon with an ending that will surprise and amuse. Boogie Woogie for the new Millennium.

Between the dark and daylight (2007)
Flute, violin, clarinet, cello, piano
Duration: approx 18:00
Published by Kenter Canyon Music (ASCAP)
The three movements are titled:

1. Nightdreams			Purchase all 3 movements and save!
2. Lullaby
3. Daydreams

I am deeply indebted to Ursula Krummel for commissioning this work and to Mark Carlson, Music Director of Pacific Serenades, for the wonderful opportunity to compose this work for his award-winning chamber music series. In preparation for composing Between the dark and daylight, I listened to Cds of lullabies and nursery songs from around the world. Besides the universality of the message, I was fascinated to find that at the most basic level, the musical intervals found in the earliest children’s songs are very similar. When a child cries out to its mother, it uses the downward minor third to cry Mama. Those notes, (I think of G for Good, E for Earth) recur throughout the entire work. The work, scored for flute, violin, viola, cello and harp, is in three sections (or movements) although I think of it as through composed. The first section, Nightdreams, begins with the descending minor third interval played by the viola (I love inner voices) and builds as each instrument enters to a dramatic high pitch. It then begins to move through a kaleidoscope of cultures. A pentatonic scale has the feeling of Chinese voices; tango rhythms appear to take the listener to South American countries; snippets of other cultures take shape and meld into the next. The second section, Lullaby, is a gentle song featuring the voices of the individual instruments. As my former musical life included being a singer, I ask myself if each musical line can be sung and if so, then it follows that it should sound good on an instrument. Although I wrote the notes, the shape and intention of the music can only come to life through the collaborative process of the musicians interpreting what I have written and to that end, I am extremely fortunate to have such marvelous musicians premiering my work. The third and final section, Daydreams, begins again with the minor third interval and weaves through a playful variety of children’s tunes from European countries. There’s even a bit of Brahms lullaby thrown in. It will be fun to see how many tunes the audience can recognize as they fly by. Composing this work surprised me as it progressed. I thought it would be a serious statement on the future that looms for our children’s children. As it turned out, there is a great deal of hope and frivolity. Go figure! By the way, sometimes titles of pieces come easily (that’s when the piece seems to “write itself”). Other times, there is angst over what the title should be. That was the case with this piece until I remembered that I had sung and recorded a beautiful Charles Ives song titled “The Children’s Hour’, and the first line of the poem by Henry Wadsworth Longfellow is, “Beyond the dark and the daylight”.

Boundaries (1994)
String Quintet for 2 vln, vla, cello, bass
Duration: approx 4:46
Published by Kenter Canyon Music (ASCAP)

Written for and premiered by The Salieri String Quintet in Seattle, WA, 1994
A strong, bold, tonal work which had its genesis from a boundary dispute I was having with a neighbor. The piece is also appropriate for string orchestra.

Boundaries 2 (1994)

Piano Trio for vln, cello, pn
Duration: approx 5:04

Clarinets Boogie (2005)
Duet for Clarinet and Bass Clarinet
Duration: 4:00

Transcribed from Bassoonet Boogie, Clarinets Boogie is a playful and deliciously fun piece for clarinet and bass clarinet with an ending that will surprise and amuse. A real audience pleaser.

Circadia (2002)
Three movements for bassoon and piano
Duration: approx 18:00
Published by Kenter Canyon Music (ASCAP)

CT Tango Nuevo (2008)
alto flute, guitar
Duration: ca. 4:30
Published by Kenter Canyon Music (ASCAP)
Score and MP3 file will be set up soon

An adaptation of LA Tango Nuevo, Corey Whitehead and Alan Durst, the commissioners of the original piece likened the work to a Rock Tango Aria. Transcribed for Helen Rosenblatt, flutist, of Blackledgemusic, CT. Tango Nuevo combines a rock rhythmic ostinato with elements of lyricism. The rhythmic backdrop set by the guitar from the onset is one that is driving; taking advantage of the guitar's percussive abilities and nuance. I thought the alto flute would sound beautiful as it floats above the guitar in a care-free, yet lyrical melody. The development section of the piece is reminiscent of tango through the single note arpeggiated guitar accompaniment and melodic content of the alto flute. At the return of the A section, CT. Tango Nuevo drives to the end with energy and excitement.

Daydreams (2007)
flute, violin, viola, cello harp
Duration: approx 5:40
Published by Kenter Canyon Music (ASCAP)

Daydreams, the last movement of the chamber work titled "Between the dark and daylight" begins with the minor third interval and weaves through a playful variety of children’s tunes from European countries. There’s even a bit of Brahms lullaby thrown in. This will be a terrific work for school outreach concerts and will be fun to see how many tunes the audience can recognize as they fly by. Composing this work surprised me as it progressed. I thought it would be a serious statement on the future that looms for our children’s children. As it turned out, there is a great deal of hope and frivolity.

Doppler Effect (1998)
fl, vla, hp
Duration: approx 6'
Published by Kenter Canyon Music (ASCAP)

Premiered by Entr’Amis, Jim Lasota, Flute, Mary Dropkin, Harp, Dmitri Bovaird, Viola
At the Neighborhood Church, Pasadena, CA July 26, 1998

The notion of writing a piece based on the findings of an Austrian mathematician who observed the increase and decrease in the pitch of sound when the source and observer are getting closer or further apart came to me while traveling through Italy and hearing the myriad sirens passing by through the dense traffic. The motif descends by a minor second returning to the original harmony combined with the repeated minor seconds portraying the incessant sounds of car horns. The melodic lines portray the vibrancy and sensuality of the people in contrast to the craziness around them.

Doppler Effect (2003)
flute, bassoon, harp
Duration: approx 6'
Published by Kenter Canyon Music (ASCAP)

Premiered by Susan Greenberg, flute, David Riddles, bassoon, Gayle Levant, harp
Santa Monica, CA April 27, 2003
Please see notes above.

Doppler Effect (2003)
Sop sax, cello, piano
Duration: approx 6'
Published by Kenter Canyon Music (ASCAP)
Please see notes from Doppler Effect, (1998)
Score and RealAudio will be set up soon.

Doppler Effect (2005)
Version for flute, bassoon, piano
Duration: approx 6:00

Please see notes from Doppler Effect, (1998)
Score and Audio will be set up soon.

Doppler Effect (2005)
Version for violin,cello, piano
Duration: approx 6:00

Please see notes from Doppler Effect, (1998)
Score and Audio will be set up soon.


Doppler Effect (2006)
Version for flute, 'cello and harp
Duration: approx 6:00

This version of Doppler Effect was adapted for two wonderful flute, 'cello and harp trios: Trio Carisma (Anna Stoddart, flute, Janice Preece, harp, Louise King, 'cello) in Brisbane, Australia and Trio Calisto (Linda Chatterton, Flute, Sally Gibson Dorer, Cello , and Min Kim, Harp) in Minnesota. Carisma has recorded Doppler Effect on their beautiful new CD on ABC Classics titled Lily's Eyes. To purchase this CD, click here.

Doppler Effect (v. 2006)
for flute, alto flute, piano
Duration: approx 6'
Published by Kenter Canyon Music (ASCAP)

This version of Doppler Effect was commissioned by Duo Viva, Alice Lenaghan, alto flute, and Mihoko Watanabe, flute and was premiered at The National Flute Association Convention in Pittsburgh, PA on August 11, 2006. This version has been recorded by Duo Viva on a CD aptly titled "Doppler Effect" and was released by Little Piper. Please see more information about the work under the original version of Doppler Effect for flute, viola and harp.

Doppler Effect (v. 2008)
for flute, clarinet, and piano
Duration: approx 6'
Published by Kenter Canyon Music (ASCAP)
This is the latest, hot-off-the-presses version of Doppler Effect. Transcribed for Palisades Virtuosi for a concert in March, 2008, this version brings the number of Doppler Effect versions out in the world to 9! Shall we try for 10???

FANFARE FOR 13 BRASS (1998)
4 hn, 4 tpt, 4 tbn, 1 tuba
Duration: approx 3:30
Published by Kenter Canyon Music (ASCAP)

Commissioned for The Hollywood Brass Ensemble which premiered the work at a Pacific Composers Forum concert in Pasadena, CA in June of 1998.
A bold, melodic, rhythmic fanfare which features each brass section. Trumpet solos. Great for a call from Intermission or a program opener/filler.

Fantasia (2002)
Clarinet and Piano
Duration: approx 9:30
Published by Kenter Canyon Music (ASCAP)

"Fantasia" (2002) was composed for the superb saxophonist (and clarinetist), Doug Masek. Among the many advantages of writing a work for a specific musician is that it allows the work to evolve into an extension of his or her own voice I had originally intended to write this work for saxophone, but as Doug and I worked together, it became clear that the perfect voice for this piece would be the clarinet. With its mood shifts, rhythmic changes, and harmonic and melodic surprises, it is a challenging and fun piece for both the clarinetist and the pianist. Too often, the piano is left as a step-child to the solo instrument. This work explores the colors of both the clarinet and piano, has jazz and Latin influences and challenges the players to listen to one another .

Fanta+z for Harp and Chamber Ensemble (2002)
hp, fl, CL, vln, vla, cello, bass
Duration: approx 4:30
Published by Kenter Canyon Music (ASCAP)

Commissioned by Corky Hale Stoller. To be premiered by Marcia Dickstein of The Debussy Trio in 2002.

Using the orchestration of Ravel’s Introduction and Allegro plus jazz bass, I have fashioned this work as a lyrical blending of European classical music with American Jazz. Not usually known as a jazz instrument, the harp crosses musical boundaries and playfully works both sides of the musical aisle. A fun, challenging piece for a harpist with a written out cadenza with plenty of room for improvisation.

Global Warming (revised 2007)
hn, pn
Duration: approx 13:00
Published by Kenter Canyon Music (ASCAP)
The four movements are titled:

This work was given its premiere under the title of "Climate Control" at The Church of The Lighted Window, La Canada, CA. In April, 2001 with Nathan Cambell, horn, and David Rubinstein, piano.

Since most of my music is programmatic by nature, it seems rather prescient that I titled this work "Climate Control" back in 2001. The titles of the movements reflect the moods created within them as well as the foreboding of the possibilities to come. "Temperature Rising" has the horn and piano leaping in octaves to indicate the dire straights our planet is in in with global warming. "Melting Ice" conjures up the melting of the glaciers in Alaska which I have personally witnessed in the six trips I have taken north in 2005 and 2006. This second movement has a brooding, moody quality which foreshadows the calving of the glaciers, literally melting the ice and endangering the animals who thrive on its being there to navigate their landscape. "Spring Fever" is a play on the words and a work which is sprightly and springy but quirky like a child's Slinky toy. The rhythmic imbalances draw the listener to find the challenges within. In the final movement, "Windmills," the piano has a cascading motif of triplets and swirls like the wind sweeping across the desert and the plains. I love the collaboration of writing for and working with musicians. "Global Warming" addresses through music the dire situation we find ourselves in while at the same time being user friendly to both the musicians and the audience. Each of the movements may be played individually.

Interiors (2003)
For string chamber orchestra
Duration: ca. 7:30
Published by Kenter Canyon Music (ASCAP)

Thanks to Jeannie Pool who created the wonderful concert series, In Praise of Music, Interiors was commissioned for the final concert of the 2002-2003 season. This work is part of a larger work-in-progress for string orchestra. As I envision it at this time (and times always change!), it will be the inner movement of a series of Dialogues. The mood of the work is an outgrowth of our world situation. The opening section engages an inverted interval that suggests memories of our childhood. This motif weaves its way through the instruments and settles into the middle section of triplets like children playing hide and seek. Though the work is pensive and sometimes somber, it also addresses the hopes for our futures and those of our children. Interiors is published by Kenter Canyon Music (ASCAP).

Japanese Gardens (2006)
Piano Trio for vln, cello, pn
Duration: approx 6:00
Published by Kenter Canyon Music (ASCAP)

Premiered by Barry Socher, Violinist with the Los Angeles Philharmonic, Armen Ksajikian, co-principal cellist with the Los Angeles Chamber Symphony Orchestra and Bryan Pezzone, prominent pianist in the Southern California music scene, "Japanese Gardens" is the second of a series of pieces which have a common motif.

Growing up in Southern California with its desert and Asian influences prompted me to design a garden in my house in the hills with a river of rocks and boulders surrounded by grasses and green plants. “Japanese Gardens” evolved out of the designing of this space. Peaceful, melodic, melancholy and richly textural, this work is suited to compliment most any program.

Japanese Gardens (2006)
Piano Trio for vln, tenor, sax, pn
Duration: approx 6:00
Published by Kenter Canyon Music (ASCAP)

Growing up in Southern California with its desert and Asian influences prompted me to design a garden in my house in the hills with a river of rocks and boulders surrounded by grasses and green plants. “Japanese Gardens” evolved out of the designing of this space. Peaceful, melodic, melancholy and richly textural, this work is suited to compliment most any program.

Japanese Gardens (2006)
Piano Trio for sop, sax, cello, pn
Duration: approx 6:00
Published by Kenter Canyon Music (ASCAP)

Growing up in Southern California with its desert and Asian influences prompted me to design a garden in my house in the hills with a river of rocks and boulders surrounded by grasses and green plants. “Japanese Gardens” evolved out of the designing of this space. Peaceful, melodic, melancholy and richly textural, this work is suited to compliment most any program.

L.A. Nuevo Tango (2006)
Duet for Saxophone and Guitar
Duration: ca. 4'
Published by Kenter Canyon Music (ASCAP)

When Alan Durst and Corey Whitehead approached me to compose a piece for saxophone and guitar, I was thrilled to take on the challenge. As a composer, I love to collaborate with wonderful musicians as my work would never be heard without their sensibilities. Corey and Alan wanted a work that would be appealing to both audiences and musicians, and as the composer I set out to write a piece that would suit their needs. The role of a composer includes drawing musical maps, i.e. think Mapquest and how one gets from point A to point Zed with all the signs inbetween. A competent musician can follow the signs but it is the heart and soul of the great musician who decides what to do with those signs, i.e.slow down, look, listen, get out and enjoy the view. That's what Corey and Alan have done with my piece, and I am thrilled to have them perform it. When they first read through L.A. Tango Nuevo, , Corey likened the work to a Rock Tango Aria. The work combines a rock rhythmic ostinato with elements of lyricism. The rhythmic backdrop set by the guitar from the onset is one that is driving; taking advantage of the guitar's percussive abilities and nuance. The soprano saxophone melody floats above the guitar in a care-free, yet lyrical melody. The development section of the piece is reminiscent of tango through the single note arpeggiated guitar accompaniment and melodic content of the soprano saxophone. At the return of the A section, LA Tango Nuevo drives to the end with energy and excitment.

Lullaby (2007)
flute, violin, viola, cello, harp
Duration: approx 4:30
Published by Kenter Canyon Music (ASCAP)

Lullaby, the middle movement of the chamber work titled "Between the dark and daylight". Lullaby is a gentle song featuring the voices of the individual instruments. As my former musical life included being a singer, I ask myself if each musical line can be sung and if so, then it follows that it should sound good on an instrument. Although I wrote the notes, the shape and intention of the music can only come to life through the collaborative process of the musicians interpreting what I have written and to that end, I was extremely fortunate to have such marvelous musicians premiere this work; Mark Carlson, flute, Roberto Cani, violin, James Dunham, viola, David Speltz, cello and Joann Turovsky, harp.

Mazal Tov (2001)
cl, tpt, vln, bass, pno, tenor voice
Duration: approx 5:00
Published by Kenter Canyon Music (ASCAP)

Commissioned by Dr. Simon Gamer in memory of a friend. A Klezmer type piece, Mazal Tov is a joyful traditional song to be performed at weddings, parties and concerts of celebratory music. Written to be sung by the Rabbi congratulating the joyful union of husband and wife, his piece can also be performed without the vocal part. Not difficult and fun to play.

MIrror Images (2002)
Transcribed for clarinet quartet
Duration: approx 3:30
Published by Kenter Canyon Music (ASCAP)

A beautiful melody with underlying harmonies that transcend boundaries of classical and pop music, this piece was originally composed for saxophone quartet. The wonderful saxophonist, Doug Masek, first performed the piece in this orchestration under the title, "Four Love". I have since revised the original to correspond with the other transcriptions of the work.

MIrror Images (2002)
Transcribed for saxophone quartet
Duration: approx 3:30
Published by Kenter Canyon Music (ASCAP)

A beautiful melody with underlying harmonies that transcend boundaries of classical and pop music, this piece was originally composed for saxophone quartet. The wonderful saxophonist, Doug Masek, first performed the piece in this orchestration under the title, "Four Love". I have since revised the original to correspond with the other transcriptions of the work.

MIrror Images (2006)
Transcribed for Flute Quartet
2 C Flutes, Alto Flute, Bass Flute
Duration: ca. 4'
Published by Kenter Canyon Music (ASCAP)

A beautiful melody with underlying harmonies that transcend boundaries of classical and pop music, this piece was originally composed for saxophone quartet. The wonderful saxophonist, Doug Masek, first performed the piece in this orchestration under the title, "Four Love". I have since revised the original to correspond with the other transcriptions of the work.

Nightdreams (2007)
flute, violin, viola, cello, harp
Duration: 7:50
Published by Kenter Canyon Music (ASCAP)

Nightdreams, the first movement of the chamber work titled "Between the dark and daylight". Nightdreams begins with the descending minor third interval played by the viola (I love inner voices) and builds as each instrument enters to a dramatic high pitch. It then begins to move through a kaleidoscope of cultures. A pentatonic scale has the feeling of Chinese voices; tango rhythms appear to take the listener to South American countries; snippets of other cultures including our own Appalachian mountain region take shape and meld into the next.

Nightfall (2002)
bassoon and piano
Duration: 6'
Published by Kenter Canyon Music (ASCAP)

The middle movement of my sonata for bassoon and piano, "Circadia", "Nightfall" is a stand-alone piece which is very moving and lyrical. Since the horrible events of 9/11, our world seem to be moving with harrowing speed toward the precipice of Armageddon. "Nightfall", is a reflective, melancholy and brooding piece which mirrors the descent from day into night. A lovely addition to any program.

Nightfall
Version for French horn and piano
Duration: 6'
Published by Kenter Canyon Music (ASCAP)

Audio sample and score to arrive soon.
Please find out more about Nightfall by reading the information above.

Nightfall (2003)
Version for cello and piano
Duration: ca.6'
Published by Kenter Canyon Music (ASCAP)

Originally commissioned by Dr. Carolyn Beck as the second movement of my sonata, "Circadia" for bassoon and piano, I have transcribed this work for the extraordinary cellist, Marek Szpakiewicz, the winner of the 2003 Mu Phi Epsilon International Artists Competition in Cincinnati, Ohio. A DMA candidate at USC and a student of Eleanor Schoenfeld, Marek has won numerous awards internationally and he has chosen "Nightfall" as one of his pieces he will perform nationally over the next two years. Since the horrible events of 9/11, our world seem to be moving with harrowing speed toward the precipice of Armageddon. "Nightfall", is a reflective, melancholy and brooding piece which mirrors the descent from day into night. Marek will record "Nightfall" in the near future so stay tuned!

Reflections (1994)
sop sax, pn
Duration: approx 3:10
Published by Kenter Canyon Music (ASCAP)

Review of Sunday afternoon Concert Master Series performance on April 29, 2001, presented by the Arrowhead Arts Association.
Reviewer: Glenn Tinturin

Reflections (1994)
cl, pn
Duration: approx 3:10
Published by Kenter Canyon Music (ASCAP)

Please see comments from Reflections above.
Performed by Ralph Williams, clarinet, and Bryan Pezzone, piano in Van Nuys, CA in May, 1998

Reflections (1998)
Transcribed for ob and pn
Duration: approx 3:10
Published by Kenter Canyon Music (ASCAP)

Please see comments from Reflections above.

Reflections (2002)
Transcribed for vn and pn
Duration: approx 3:10
Published by Kenter Canyon Music (ASCAP)

Please see comments from Reflections above.
Performed by Grant Ho, violinist and Julia Greer, pianist in several chamber
concerts.

Reflections (2002)
Transcribed for cello and piano
Duration: approx 3:10
Published by Kenter Canyon Music (ASCAP)

Please see comments from Reflections above.

Sam's Dance (1995)
sop sax, pn
Duration: approx 4:00
Published by Kenter Canyon Music (ASCAP)

I originally conceived Sam’s Dance when my father had to undergo foot surgery. He had the lithe physique of an athlete whose only sport was Walking. Sam religiously walked five miles everyday of his life. While sitting in the hospital waiting for his results, images of my father walking with a cane paraded as a three-legged waltz. The bravado of the opening and closing sections are bookends surrounding the melancholy melodies that characterized the character of a man constantly searching for lost dreams, hopes and loves..

Sam's Dance (1995)

Transcribed for cl and pn
Duration: approx 4:00
Published by Kenter Canyon Music (ASCAP)

Sam's Dance (1995)

Transcribed for fl and pn
Duration: approx 4:00
Published by Kenter Canyon Music (ASCAP)

Sam's Dance (1995)

Transcribed for ob and pn
Duration: approx 4:00
Published by Kenter Canyon Music (ASCAP)

Sam's Dance for Woodwind Quintet

Transcribed for Woodwind Quintet for fl, ob, CL, hn, bn
Duration: approx 6:00
The Whole Bean Woodwind Quintet
Published by Kenter Canyon Music (ASCAP)

Sunswept (2006)

Transcribed for flute and piano
Duration: approx 6:00
Sunswept originated with a call from my friend and fellow Mu Phi member, Susan Dietz, asking if Windswept could be played with flute so that she and her husband, John, could play it together. In reworking the piece, I realized the sonorities of the flute and piano would work beautifully together. Sunswept is a playful and lyrical interchange between the instruments. The piano is an equal partner to the flute in this work. Sunswept is published by Kenter Canyon Music (ASCAP).

Windswept (2002)
Transcribed for cl, pn
Duration: approx 6:00
Published by Kenter Canyon Music (ASCAP)

Originally conceived as the final movement to Climate Control, Windswept has been reworked for clarinet and piano and stands on it's own as a playful and lyrical interchange between the instruments. The piano has a cascading motif of triplets throughout which represents the wind sweeping across the plains and over the sea.

Windswept (2002)
Transcribed for clarinet, piano
Duration: approx 6:00
Published by Kenter Canyon Music (ASCAP)

Originally conceived as the final movement to Climate Control, Windswept has been reworked for clarinet and piano and stands on it's own as a playful and lyrical interchange between the instruments. The piano has a cascading motif of triplets throughout which represents the wind sweeping across the plains and over the sea.

Windswept (2002)
Version for Cello and Piano
with lyrical cello cadenza
Duration: 6'
Published by Kenter Canyon Music (ASCAP)

After transcribing "Windswept" for clarinet and piano, I realized that it would make a wonderful cello and piano piece. The agility, tonal colors and range of the cello make it the perfect partner to the piano. ěWindsweptî is a playful and lyrical interchange between the instruments. The piano has a cascading motif of triplets throughout that represents the wind sweeping across the plains and over the seas. ěWindsweptî is published by Kenter Canyon Music (ASCAP).

Winter's Breath (V. 2008)
ContraBass Flute, piano
Duration: approx 4:00
Published by Kenter Canyon Music (ASCAP)

An adaptation of Winter Solace, Winter's Breath is a brooding, lyrical homage to the darker places in each of us. The breathy, sensual voice of the contrabass flute seemed a perfect fit for the moodiness of the melody and interweaving of the harmonies which never go where you think they will. Filled with clashing accidentals, Winter's Breath exudes mysterious tonal colors which are perfectly suited for this unique instrument which, thanks to Peter Sheridan is being introduced into the mainstream of the flute repetoire.

Winter Solace (2002)
Alto Saxophone, piano
Duration: approx 4:00
Published by Kenter Canyon Music (ASCAP)

Written for my dear friend, Doug Masek who recorded it for his 2007 CD, Saxophone Alternative on Centaur, Winter Solace is a brooding, lyrical homage to the darker places in each of us. The breathy, sensual voice of the alto saxophone seemed a perfect fit for the moodiness of the melody and interweaving of the harmonies which never go where you think they will. Filled with clashing accidentals, Winter Solace exudes mysterious tonal colors which are perfectly suited for the alto sax, an instrument that is underused and generally misunderstood in the "classical" world.