Chamber
Violin Duo
Fanfare for the Little Green Man (2009)
Violin and Piano
Duo for violin & Piano (2010)
Trumpet, Viola, and Cello
Chorale Trio (Prayer to Prospero) (2009)
String Quartet
String Quartet No. 1 (2005)
Song Cycles with Instrumental Ensemble
And He'll Be Mine (2005, arr. 2011)
Starfish at Pescadero (2007)
Pierrot Ensemble
Songs of Love & Madness (2006)
Piano Trio
Garden Variety (2010)
Flute Duo
You Shoot One (2001)
Flute and Piano or Harp
at least a moment (2010)
Cello and Piano
Letter from a Young Poet (2008)
at least a moment (2010)
for flute & piano
for alto flute & harp
for alto flute & piano
for alto flute & harp
for alto flute & piano
Duration
18'00"
Premiere
unperformed
Instrumentation
flute & piano
alto flute & harp
alto flute & piano
alto flute & harp
alto flute & piano
Movements
1. To You
2. Permanently
3. One Train May Hide Another
2. Permanently
3. One Train May Hide Another
Dedication
to Chet Biscardi
Catalog
alto flute & harp: T82-E2010-1
alto flute & piano: T82-E2010-2
flute & piano: T82-E2010-3
alto flute & piano: T82-E2010-2
flute & piano: T82-E2010-3
Notes
This piece is an arrangement of my song cycle of the same title, at least a moment, three settings of poems by Kenneth Koch, and was created in February 2010.
Few changes have been made from the original. However, the most substantial alteration occurs in the second movement, "Permanently", where the song requires that the singer speak several lines of text These areas have been filled in with musical material from the third movement, "One Train May Hide Another", as well as a brief allusion to Beethoven’s Symphony No. 3 (to complement the existing quote from the second movement of his Symphony No. 7!).
Many thanks to my good friend Chet Biscardi for the off-hand remark that spawned this arrangement, and to Marc Peloquin for whom I paraphrased "One Train May Hide Another" (which goes by the title Best at dawn), which put me in an arranging mood.
Few changes have been made from the original. However, the most substantial alteration occurs in the second movement, "Permanently", where the song requires that the singer speak several lines of text These areas have been filled in with musical material from the third movement, "One Train May Hide Another", as well as a brief allusion to Beethoven’s Symphony No. 3 (to complement the existing quote from the second movement of his Symphony No. 7!).
Many thanks to my good friend Chet Biscardi for the off-hand remark that spawned this arrangement, and to Marc Peloquin for whom I paraphrased "One Train May Hide Another" (which goes by the title Best at dawn), which put me in an arranging mood.










