It is sometimes said that imitation is the best form of flattery. NEXUS II opens, unabashedly, with a direct quote (although not at the exact pitch level) from Franco Donatoni’s ARGOT for solo violin. Donatoni’s music had a great influence in the development of my own musical language, and rather than just simply dedicate a composition to him I felt more inclined to use some of his own music to generate my own.
NEXUS II explores the inherent timbral qualities of the violin as it contrasts vibrated notes with non-vibrated ones; double stops with single notes; normal playing with sul ponticello (playing near the bridge). The opening statement provides the material for the remainder of the piece as it returns in continuous variation.
NEXUS II explores the inherent timbral qualities of the violin as it contrasts vibrated notes with non-vibrated ones; double stops with single notes; normal playing with sul ponticello (playing near the bridge). The opening statement provides the material for the remainder of the piece as it returns in continuous variation.
Dzon for Marimba, Strings and Percussion
Dzon (Homage) for Marimba, Strings and Percussion was written for the marimbist Sylvie Zakarian It is dedicated to the memory of the American composer. In writing this piece, I have tried to capture the harmonic, melodic and ethnic qualities of Hovahness’s music. Although the music is original, it was folk and ethnically inspired. Furthermore, I have not hesitated to “borrow” from the great master. Hovhaness had a great ear for the exotic combinations of instruments, hence my choice of marimba, strings and percussion instruments—most of which were central in much of his music. Another familiar Hovhaness device which I use is his senza misura (without a prescribed rhythm or meter) technique. This occurs in the piece when the viola, cello and bass are asked to play a series of notes randomly, in any rhythm and at any speed. The effect is very interesting when set against the strictly and more traditionally written marimba part. Throughout the piece, the marimba provides a wonderful timbral contrast to the strings and percussion.
Bella Ciao Variations for Brass Quintet
Written during the Covid 19 Pandemic, this arrangement of "Bella Ciao" was inspired by the scenes of music-making by Italian musicians during the darkest days of the pandemic. From rooftops, balconies and deserted piazzas, people continued to express themselves in testaments to the human spirit. I can't over-express my gratitude to Andy Sorg (Trumpet and audio production) and the fabulous Triton Brass for their performance and to Mark Emery the amazing videographer for this creation.
Over the centuries, Naples has played a very important part in the history of music in Italy as well as the rest of the world. Its songs have become no less important in its history and famous singers from Caruso to Pavarotti have all performed and recorded some of the most popular ones. While Italy has much folk music from its many regions, it is safe to say that when one thinks of Italian songs (think O Sole Mio, Funiculì, Funiculá, Santa Lucia etc.), these are invariably Neapolitan. Rhapsody for Flute and Strings is one of several compositions I have based on Neapolitan Folk Songs. While material from one of the folk songs is used for transitions (“Mamma mia, che vo sapè?”, “What do you want to know Mama”?), the rest of the Rhapsody utilizes the following folk songs: “O Marenariello” “Sea Lad”, “Guapparia” “Evil Ways”, “Fenesta che Luciva”, “The Window that used to be lit”, “Napole Mio”, “My Naples”, “A Marechiare”,” In Marechiare”. I was drawn to the heart-felt message in each of the songs as well as their (melo)drama. The piece is dedicated to Orlando Cela, who is featured on this video.
When asked to write a short piece for a veterans-themed concert, I immediately thought of Taps, the universally recognized tune that, regardless of the occasion, always imbues the ceremony with dignity, respect and remembrance. Consequently, I began to think about the tune and how might I develop it into a longer piece. I decided to begin the piece with the familiar opening motive but then digress into a type of soliloquy where the trumpet explores new directions with the Taps melody. In keeping with the veterans-inspired theme, I incorporated, in the middle section, little snippets of all the four branches of the American armed services songs as well as patriotic themes. The original theme returns at the end and completes the melody begun in the opening measures.
“March of a Different Drummer” is an arrangement of the Old French (Burgundian) Christmas carol “Patapan,” written by Bernard de La Monnoye in 1700 and published in 1720. The carol employs onomatopoeia to imitate both the sound of a drum (pa-ta-pan) as well as a fife (tu-re-lu-re-lu). Simple instruments such as these are often seen in paintings that depict Christ’s humble birth. My interest in this carol goes back to my early years when as a young percussionist, I had the privilege of playing the snare drum solo in an orchestral arrangement at a school Christmas concert. With so much of today’s choral music employing vocal percussion, I like to think that de La Monnoye was truly ahead of his time!
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Rhapsody for Flute and Orchestra performed by the Tampa Bay Symphony. Mark Sforzini, Director, Christina Condon, Flute
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