{"title":"Personal Experience-Inspired Music","description":null,"products":[{"product_id":"on-sorrow-bass-clarinet-string-quartet","title":"ON SORROW (bass clarinet and string quartet)","description":"\u003cp\u003eINSTRUMENTATION: \u003cspan\u003e Bass Clarinet and String Quartet\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDURATION: c. 30:00\u003c\/p\u003e\n\u003cp\u003eYEAR COMPOSED: 2018\u003c\/p\u003e\n\u003cp\u003eCommissioned by Bruce Belton.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTHIS IS A DIGITAL PRODUCT: Purchase includes digital download of score and a complete set of parts in PDF format.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/wqBNUfJA48Y?si=8k3e7YQ_8Vp14xHe\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv id=\"expanded\" class=\"style-scope ytd-text-inline-expander\"\u003e\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003ePROGRAM NOTE: \u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\n\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003eSorrow is inevitable in all of our lives. We all carry the weight of our losses. For no matter how lucky a life we live, the simple fact remains that the longer we are here the more loss we will experience. \u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\n\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003e\"On Sorrow\" is in five continuous movements that flow together without pause: \u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\n\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003eI. Prelude – Loss \u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003eII. Withdrawal \u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003eIII. Rage \u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003eIV. Consolation (O Vos Omnes) \u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003eV. Renewal – Postlude\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\n\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003e\u003cmeta charset=\"UTF-8\"\u003eThe piece opens with wispy string chords in a stuttering rhythm, with the bass clarinet floating above, evoking the eternal, endless river of time, the neutral backdrop to the cares and concerns of living. This figure also takes on a quality of “fate,” appearing again, suddenly loud and forceful, at the climaxes of the first, third, and fifth movements. After a few minutes of this material, the main “sorrow” theme of the piece enters: a circular, chromatic figure in five. This material begins slowly and lugubriously, but gradually starts to become more flowing and buoyant. Before it can go too far in this direction, however, it is interrupted by a hammering version of the “fate” motive. This is followed by two intense statements of the “sorrow” theme, and then a high, wispy version that melts into the second movement. Movement 2 (“Withdrawal”) evokes the sense of turning inward and separating from the world that is often our initial way of coping with the shock of a calamitous event. The bass clarinet plays fragmentary melodies over quiet, repeating chords in the strings that begin high and ethereal, and gradually drift down and down and down. At the end, there is a low, subdued statement of the “sorrow” theme – which then triggers the third movement’s sudden outburst. Movement 3 (“Rage”) is aggressive, dissonant, and driving. There are several new themes, and the “sorrow” theme is also sucked into the vortex. Its narrow chromatic pitches are played in close canon to create buzzing, insect-like swirls of dissonance. The music churns to a climax, and the bass clarinet is left alone on one of its lowest pitches. The strings hammer out the “fate” motive repeatedly as the bass clarinet ascends four octaves, almost its entire range, and is left hanging alone on a searing high note. When the bass clarinet stops, a lone, gentle sustained cello note emerges, leading into the fourth movement, “Consolation (O Vos Omnes).” This movement consists entirely of fragments from Tomás Luis de Victoria’s choral work “O Vos Omnes,” composed in the vicinity of 1572. It is a beautiful, contemplative work, setting a text from Lamentations, which translates as: “O you that pass by, behold, and see: if there be any sorrow like my sorrow. Pay attention, all people, and see my sorrow: if there be any sorrow like my sorrow.” I knew early on that Victoria’s composition would inform my own, both because it is such a potent musical evocation of sorrow, and, more personally, because it has itself been a source of consolation for me in difficult times. As my piece developed, it became clear to me that directly quoting Victoria’s work would be the most compelling way to provide the “consolation”\u003cmeta charset=\"UTF-8\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003emusic I was seeking. It is deeply inspiring and humbling to me that a piece of music composed 450 years ago can still speak to us so directly and immediately today. It is a testament to the power of music itself to console, as well as to the power of spirituality and our common humanity, even across many generations and centuries. As the fourth movement ends, Victoria’s final cadence morphs into a statement of the “sorrow” theme. The bass clarinet begins movement 5 (“Renewal”) with tentative fragments of this theme, which are then picked up by the first violin. The other instruments gradually join in, with the theme gathering in strength and confidence, finally culminating in a vigorous tango, a swirling, churning dance of life. Sorrow is not denied or defeated, but instead becomes the very basis for renewal and hope. As in the first movement, the dance is cut short by a hammering return of the “fate” motive. This time, however, the harmonies build and finally resolve to a triumphant D major chord. The chord melts away and we are left once again with three iterations of the slow, contemplative version of the “sorrow” theme, rising higher each time, finally leaving the bass clarinet suspended gently in the air. The quiet, wispy version of the opening “fate” motive enters in the strings, and the piece ends as it began, with the bass clarinet suspended over a gently pulsating ocean of time.\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv id=\"snippet\" class=\"style-scope ytd-text-inline-expander\"\u003e\u003c\/div\u003e\n\u003cdiv slot=\"extra-content\" class=\"style-scope ytd-watch-metadata\"\u003e\n\u003cdiv id=\"video-summary\" class=\"style-scope ytd-structured-description-content-renderer\"\u003e\u003c\/div\u003e\n\u003cdiv id=\"merch-shelf\" class=\"style-scope ytd-structured-description-content-renderer\"\u003e\u003c\/div\u003e\n\u003cdiv id=\"ticket-shelf\" class=\"style-scope ytd-structured-description-content-renderer\"\u003e\u003c\/div\u003e\n\u003cdiv id=\"items\" class=\"style-scope ytd-structured-description-content-renderer\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":49643576393966,"sku":null,"price":59.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0828\/6738\/8654\/files\/OnSorrow-FINALp3.jpg?v=1790731647"},{"product_id":"on-sorrow-piano-reduction","title":"ON SORROW (bass clarinet and piano)","description":"\u003cp\u003eINSTRUMENTATION: \u003cspan\u003e Bass Clarinet and Piano\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDURATION: c. 30:00\u003c\/p\u003e\n\u003cp\u003eYEAR COMPOSED: 2018\u003c\/p\u003e\n\u003cp\u003eArrangement of the original work for bass clarinet and string quartet, which was commissioned by Bruce Belton.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTHIS IS A DIGITAL PRODUCT: Purchase includes digital download of score and a complete set of parts in PDF format.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e(recording is of string quartet version)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/wqBNUfJA48Y?si=x0Eot185c6wrMS8Z\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\n\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"expanded\" class=\"style-scope ytd-text-inline-expander\"\u003e\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003ePROGRAM NOTE: \u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\n\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003eSorrow is inevitable in all of our lives. We all carry the weight of our losses. For no matter how lucky a life we live, the simple fact remains that the longer we are here the more loss we will experience. \u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\n\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003e\"On Sorrow\" is in five continuous movements that flow together without pause: \u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\n\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003eI. Prelude – Loss \u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003eII. Withdrawal \u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003eIII. Rage \u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003eIV. Consolation (O Vos Omnes) \u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003eV. Renewal – Postlude \u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\n\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"style-scope ytd-text-inline-expander\"\u003e\u003cspan class=\"ytAttributedStringHost ytAttributedStringWhiteSpacePreWrap\" dir=\"auto\"\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003eThe piece opens with wispy string chords in a stuttering rhythm, with the bass clarinet floating above, evoking the eternal, endless river of time, the neutral backdrop to the cares and concerns of living. This figure also takes on a quality of “fate,” appearing again, suddenly loud and forceful, at the climaxes of the first, third, and fifth movements. After a few minutes of this material, the main “sorrow” theme of the piece enters: a circular, chromatic figure in five. This material begins slowly and lugubriously, but gradually starts to become more flowing and buoyant. Before it can go too far in this direction, however, it is interrupted by a hammering version of the “fate” motive. This is followed by two intense statements of the “sorrow” theme, and then a high, wispy version that melts into the second movement. Movement 2 (“Withdrawal”) evokes the sense of turning inward and separating from the world that is often our initial way of coping with the shock of a calamitous event. The bass clarinet plays fragmentary melodies over quiet, repeating chords in the strings that begin high and ethereal, and gradually drift down and down and down. At the end, there is a low, subdued statement of the “sorrow” theme – which then triggers the third movement’s sudden outburst. Movement 3 (“Rage”) is aggressive, dissonant, and driving. There are several new themes, and the “sorrow” theme is also sucked into the vortex. Its narrow chromatic pitches are played in close canon to create buzzing, insect-like swirls of dissonance. The music churns to a climax, and the bass clarinet is left alone on one of its lowest pitches. The strings hammer out the “fate” motive repeatedly as the bass clarinet ascends four octaves, almost its entire range, and is left hanging alone on a searing high note. When the bass clarinet stops, a lone, gentle sustained cello note emerges, leading into the fourth movement, “Consolation (O Vos Omnes).” This movement consists entirely of fragments from Tomás Luis de Victoria’s choral work “O Vos Omnes,” composed in the vicinity of 1572. It is a beautiful, contemplative work, setting a text from Lamentations\u003c\/span\u003e\u003cspan class=\"ytAttributedStringLinkInheritColor\" dir=\"auto\"\u003e, which translates as: “O you that pass by, behold, and see: if there be any sorrow like my sorrow. Pay attention, all people, and see my sorrow: if there be any sorrow like my sorrow.” I knew early on that Victoria’s composition would inform my own, both because it is such a potent musical evocation of sorrow, and, more personally, because it has itself been a source of consolation for me in difficult times. As my piece developed, it became clear to me that directly quoting Victoria’s work would be the most compelling way to provide the “consolation” music I was seeking. It is deeply inspiring and humbling to me that a piece of music composed 450 years ago can still speak to us so directly and immediately today. It is a testament to the power of music itself to console, as well as to the power of spirituality and our common humanity, even across many generations and centuries. As the fourth movement ends, Victoria’s final cadence morphs into a statement of the “sorrow” theme. The bass clarinet begins movement 5 (“Renewal”) with tentative fragments of this theme, which are then picked up by the first violin. The other instruments gradually join in, with the theme gathering in strength and confidence, finally culminating in a vigorous tango, a swirling, churning dance of life. Sorrow is not denied or defeated, but instead becomes the very basis for renewal and hope. As in the first movement, the dance is cut short by a hammering return of the “fate” motive. This time, however, the harmonies build and finally resolve to a triumphant D major chord. The chord melts away and we are left once again with three iterations of the slow, contemplative version of the “sorrow” theme, rising higher each time, finally leaving the bass clarinet suspended gently in the air. The quiet, wispy version of the opening “fate” motive enters in the strings, and the piece ends as it began, with the bass clarinet suspended over a gently pulsating ocean of time.\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv id=\"snippet\" class=\"style-scope ytd-text-inline-expander\"\u003e\u003c\/div\u003e\n\u003cdiv slot=\"extra-content\" class=\"style-scope ytd-watch-metadata\"\u003e\n\u003cdiv id=\"video-summary\" class=\"style-scope ytd-structured-description-content-renderer\"\u003e\u003c\/div\u003e\n\u003cdiv id=\"merch-shelf\" class=\"style-scope ytd-structured-description-content-renderer\"\u003e\u003c\/div\u003e\n\u003cdiv id=\"ticket-shelf\" class=\"style-scope ytd-structured-description-content-renderer\"\u003e\u003c\/div\u003e\n\u003cdiv id=\"items\" class=\"style-scope ytd-structured-description-content-renderer\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":49643576426734,"sku":null,"price":34.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0828\/6738\/8654\/files\/OnSorrow-pianoversionp3.jpg?v=1790730363"},{"product_id":"symphony-for-piano-and-orchestra","title":"SYMPHONY FOR PIANO AND ORCHESTRA","description":"\u003cp\u003eINSTRUMENTATION: \u003cspan\u003e Solo Piano and Orchestra (2 sop recorders, 3 fl (picc), 2 ob, 3 cl (Eb cl), 3 bsn (c-bsn), 3 tpt, 4 hn, 3 tbn, tba, hp, cel, 3 perc, strings)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDURATION: c. 47:00\u003c\/p\u003e\n\u003cp\u003eYEAR COMPOSED: 2019\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCommissioned by the University of the Pacific Symphony Orchestra\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTHIS IS A DIGITAL PRODUCT: Purchase includes digital download of score and a complete set of parts in PDF format.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/vIRFrjFVtK8?si=xp5TUb8dFl771PPo\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003ePROGRAM NOTE:\u003c\/p\u003e\n\u003cdiv class=\"page\" title=\"Page 3\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003eSuffering and loss are a central part of life. Yes, there are joys and triumphs as well. But, due to our mortality, the simple fact remains that the longer we are here, the more loss and sorrow we experience.\u003c\/p\u003e\n\u003cp\u003eWhat is the proper response to this loss and suffering? Do we confront it, fight it, shake our fist at it, try to defeat it? Or do we step away and seek to transcend it?\u003c\/p\u003e\n\u003cp\u003eFor most of us, some of both. We do what we can to try to make the world better in the time we have, to struggle against adversity, to fight for justice; and we also seek solace and transcendence through art or religion or nature or loving relationships.\u003c\/p\u003e\n\u003cp\u003eMusic can embody both responses. During the summer of 2018, as I was contemplating the shape of this work, I had two musical obsessions: Lin-Manuel Miranda’s musical Hamilton, and the third movement of Philip Glass’s third piano concerto. These works are highly contrasting not only in their obvious stylistic differences, but in the deeper ways they respond to the world. Hamilton is all about the struggles, triumphs, and tragedies of engaging head-on with the messy reality of living in society. It is full of energy and vitality, music that grabs hold of life and won’t let go. The Glass concerto, on the other hand, is music that is deeply serene and peaceful. Rather than grappling with the struggles of this world, it detaches from and transcends them. It is a testament to music’s power and versatility that it can embody both approaches so thoroughly and deeply. I came to realize that in the new piece I was going to write, I wanted to engage with both of these approaches, to see how they could interact with one another over the course of a large-scale symphonic work.\u003c\/p\u003e\n\u003cp\u003eAs I began sketching what would become the opening music of the piece, the phrase “unbearable tenderness” came into my mind. It made me think of the feeling of almost painful love and tenderness I felt a few years earlier when my newborn son would sleep on my chest, and other moments in life when the beauty and sweetness of the moment seem almost too much to bear. Those moments of transcendence crop up ever so often as we go about our lives — and, perhaps, give us a glimpse of something more universal or divine, the wide universe beyond our own ego and worldly concerns. At other times, we are pre-occupied with the day-in-day-out struggles of this world — the “Hamilton” approach to life — as we do our best to navigate and make the most of this deeply imperfect world we inhabit so briefly.\u003c\/p\u003e\n\u003cp\u003eThe piece begins and ends with this “unbearable tenderness” music and in between, it takes us on a journey between both extremes. The third movement, the emotional core of the work, is a sort of unification of both; it’s endlessly undulating, rising and falling string lines are peaceful and eternal, yet also passionate and engaged. The beginning and ending “unbearable tenderness” music, to me, takes on a quality of transcending living itself, giving a glimpse, perhaps, of the place we are before we are born and after we die. In between, then, is Life.\u003c\/p\u003e\n\u003cp\u003eThe piece is called a piano “symphony” rather than “concerto” because the piano’s role is to provide the meat of the musical content and structure, rather than to function as a virtuosic soloist. The piano introduces themes, provides the harmonic underpinning, and lays down grooves, but isn’t always necessarily meant to be the center of attention.\u003c\/p\u003e\n\u003cp\u003eThe overall form of the work is roughly an arch form. The third movement forms the emotional core of the piece, as a meditative, repeating piano figure provides the backdrop for string lines that slowly and inexorably rise and fall. Movements 2 and 4 are fast, colorful, scherzo-like movements, but with very different characters; while movement 2 is wispy and mysterious, movement 4 is aggressive and driving. Movements 1 and 5 are the most complex, with a range of characters and emotions. The gentle prelude to movement 1 recurs at the very end of movement 5, rounding out the form as the music gently fades into the same eternal silence from which it emerged.\u003c\/p\u003e\n\u003cp\u003eThe piece was commissioned and premiered by the University of the Pacific Orchestra, with Nicolas Waldvogel conducting and Dashiel Reed as the piano soloist. I am deeply grateful to them for the opportunity to write a piece on this scale, and for their dedication and enthusiasm in bringing it to life.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":49643576492270,"sku":null,"price":295.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0828\/6738\/8654\/files\/SymphonyforPianoandOrchestraFINALp3.jpg?v=1790729311"},{"product_id":"a-requiem-for-2020-bass-clarinet-ensemble","title":"A REQUIEM FOR 2020 (14 bass clarinets)","description":"\u003cp\u003eINSTRUMENTATION: 14 Bass Clarinets\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003eDURATION: c. 20:00\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eYEAR COMPOSED: 2021\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTHIS IS A DIGITAL PRODUCT: Purchase includes digital download of score and a complete set of parts in PDF format.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/bhzis9ZyPd0?si=WhF3VkjoDC-0pz6k\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003ePROGRAM NOTE:\u003c\/p\u003e\n\u003cp\u003e2020 was an extraordinary, once-in-a-lifetime (hopefully) year. It began with raging wildfires in Australia, a stark embodiment of the impending catastrophe of human-made climate change. This was followed by a once-in-a-century (hopefully) global pandemic that would cause the death of millions around the world, as well as untold social disruption, as millions upon millions of people were forced to stay at home, lost work, and adjusted to lives of mask-wearing and isolation. In the United States, the summer brought an unprecedented outpouring of protest over the country’s dark legacy of racism as manifested most vividly in the brutal police murder of George Floyd. The year culminated in a shocking first: the refusal of an American president to concede his election loss, as he and his allies disseminated a toxic stew of lies and conspiracy theories that tens of millions of Americans believed – and, on January 6th, 2021, acted on, in the violent storming of the U.S. capitol, an unprecedented attempt to disrupt the peaceful transfer of power. There were moments of hope as well. The outpouring of demands for racial justice was notable in the breadth and depth of its support across society. The coronavirus pandemic laid bare the deep inequalities in society – and created hope that there could finally be the political will to address them. Covid vaccines were developed at a whirlwind speed, and scientists, healthcare workers, and public health officials displayed bravery and dedication that are an inspiration to all of us.\u003c\/p\u003e\n\u003cp\u003eIt’s a lot to process. No doubt social scientists, historians, public health officials, psychologists, artists, and all the rest of us will be reflecting on and learning from the events of 2020 for years, if not decades to come. A Requiem for 2020 is one early attempt at this processing. The work has no specific narrative, but taps into the swirl of emotions that dominated 2020 – fear, anxiety, sorrow, loneliness, rage – and slivers of hope. It is meant both to evoke the churning events and emotions of the year, and also to offer some space to grieve, reflect, remember, and find solace – hence the “requiem” in the title.\u003c\/p\u003e\n\u003cp\u003eThe work was composed for the Boston-based bass clarinet ensemble “Improbable Beasts” and premiered virtually at ClarinetFest 2021.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":49643577114862,"sku":null,"price":64.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0828\/6738\/8654\/files\/2020requiemforbassclarinets-FINALp3.jpg?v=1790715914"},{"product_id":"we-are-broken-bass-clarinet-ensemble","title":"WE ARE BROKEN (9 bass clarinets)","description":"\u003cp\u003eINSTRUMENTATION: Bass Clarinet Choir (9 parts)\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDURATION: c. 15:00\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eYEAR COMPOSED: 2022\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTHIS IS A DIGITAL PRODUCT: Purchase includes digital download of score and a complete set of parts in PDF format.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/f4jGzcQKKMg?si=dm1minsqNPw-7VMe\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003ePROGRAM NOTE:\u003c\/p\u003e\n\u003cp\u003eAll of us are broken in some way. Life just does that to you. Whether it’s the loss of a loved one, the end of a relationship, a professional setback, or even that bully in 4\u003csup\u003eth\u003c\/sup\u003e grade whose confidence-shrinking taunts still linger inside you. We all have parts that are stunted, twisted, broken. How much of our life do we spend avoiding those parts, suppressing them, pretending they’re not there, or acting out to avoid acknowledging them? What if, instead, we were able to really look at our own brokenness, acknowledge it, try to make peace with it? And what if we could do the same with those around us – see and acknowledge their brokenness, indeed finding in it our common humanity? This piece is meant to create some space to acknowledge and reflect on our own brokenness, realize that we are all broken together, and hopefully find some peace and acceptance in this realization.\u003c\/p\u003e\n\u003cp\u003eThe immediate inspiration came from the brilliant television show, “Better Call Saul,” which traces the transformation of an earnest, good-hearted, if ethically challenged young lawyer named Jimmy McGill into the over-the-top, flamboyant, near-caricature criminal cartel lawyer, Saul Goodman, who we meet in “Breaking Bad.”  We see that a series of failures and traumatic events in his life push him over the edge; the gaudy, amoral Saul Goodman persona he adopts is his way of coping, of avoiding having to face his own deep brokenness. It got me thinking about my attraction to dark television shows like Better Call Saul, Breaking Bad, The Sopranos, Game of Thrones, etc., and how the common denominator is that they are all about how people deal with their own brokenness – in most cases, in deeply destructive ways. There are also occasional characters in these shows who flip the script, whose brokenness instead leads them to become stronger or more self-aware or more humble or more empathic. Can we similarly flip the script in our own lives?\u003c\/p\u003e\n\u003cp\u003eThe piece was composed for and premiered by my Boston-based bass clarinet ensemble Improbable Beasts at the ICA Low ClarinetFest 2023 in Glendale, AZ.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":49643577606382,"sku":null,"price":54.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0828\/6738\/8654\/files\/WeAreBroken_forbassclarinets-FINALp3.jpg?v=1790686525"}],"url":"https:\/\/jonrussellmusic.com\/collections\/personal-music.oembed","provider":"My Store","version":"1.0","type":"link"}