328 Rue du Toucher
|For Harpsichord Solo.
Inspired by Francois Couperin's L'Art
de toucher le clavecin, these three short movements draw from
pitch and rhythmic gestures found in his third, second, and eighth
|Acclivity||For String Quartet. Emerging from nothing and slowly building to a frantic climax. Originally titled "Second Pass," this is a dramatic revision of that original work.|
||For Mixed Ensemble.
Commissioned by Ryan Silveira to accompany his multi-media
work of the same name. The long, flowing music accompanies four
characters performing both live and on film. (Please
note that this work is not available for sale.)
|Bottom's Dream||For Mixed Ensemble (English Horn, Bass Clarinet, Soprano Saxophone, Trumpet, Trombone, Viola, 'cello, Double Bass, Voice). "Man is but an ass . . ." declares Bottom as he wakes from his long, adventurous night. Inspired by and with text from Shakespeare's A Midsummer Night's Dream, this work gives Bottom the Weaver the spotlight he so richly deserves.|
|Caged||For Percussion Ensemble.
Six short movements tell a life story in 15 minutes. Each
movement is distinct in its timbre, yet all blend seamlessly to tell a
haunting story. (To hear each movement individually, click these
||For Brass Quintet (in three
movements) A fast, rhythmic first movement gives way to a gentle
waltz in the second, leading up to a furious tidal wave in the third.
|Charm Bracelet||For Solo Cello. A series
of very short movements, each showcasing different aspects of the ever
agile cello. The performer is encouraged to arrange the movements
in any order they choose. (Click these links to hear the
||For Flute, Cello, 6-string Bass,
and Improvised Pandeiro.
Based on the traditional Brazilian Choro (a popular music form in the
1930s), this work brings a new sound with the addition of the
cello. Fast and bouncy, listeners will feel the urge to get up
|Doomsday!||For Young Band. Ordinary
life is disrupted by an unexpected disaster. As the dust settles,
the churchbells begin to ring, and people re-emerge to rebuild.
This work was co-written with the students of the West Genesee Middle
School 8th Grade Band, and they dedicated the 2011 premiere to the
victims of the Japan tsunami.
|Endings and Beginnings||For Tenor with Piano
Accompaniment. Our lives are an endless cycle of endings and
beginnings. Through it all, it seems a story is being told,
moving from one person, to the next, to the next. Endings are
often sad, beginnings are usually exciting, and through it all, we pass
our stories from one generation to the next.
|Fair Sarah||For Beginning Band. There is a dearth of new music written for our children as they begin their journey into music. Fair Sarah was written for young players, and, along with a narrator, tells the classic story of a hero, a heroine, a villain, and a train.|
||For Baroque Flute, Baroque
Violin, Viola da Gamba, Baroque Cello and Harpsichord.
Commissioned by Melomanie,
this three-movement work was inspired by starry nights spent by the
|Guardian's Promise||For Women's Voices (SSAA). The poem and original melody are from Maggie Rowe, with Diane providing the arrangement and additional music.|
|In the Heart of the Earth||For Mixed Choir. This work was commissioned by Vocal Synthesis, and depicts the slumbering earth in the depths of winter. It is the first of an 8-song cycle.|
||For Solo Cello and
Electronics. Score commissioned by Ryan Silveira to accompany his
short film of the same name. This film was a regional finalist
for the 2010 Student Academy Awards. (Please note that this work is not
available for sale.)
||For Flute, Clarinet, Violin,
Cello, Piano. Inspired by the fabric art of Sandra Woock, the
work begins in chaos. Soon patterns begin to emerge as the music
flows and changes, gently swirling and finally fading away to nothing.
|Let Me Help
||For Mezzo-Soprano, Alto
Flute, and Marimba. The poem was a gift to a loved one. Set
to music for vocalist Kristie Collura, the work is a trio rather than
||For Intermediate Band.
Grounded in the rhythm of the traditional Irish dance reel, this work
challenges the developing musician to listen and play
independently. With some non-traditional chord clusters in the
chorale sections, it grabs the attention of both the audience and
|O What a
Pianos. From the opening flourish to the final rousing chords,
is an exciting work that lends itself to a flashy performance. A
way to end a concert and bring the audience to their feet!
(unaccompanied). Portraying a struggle to contain a space too
wide for words, this work challenges the performer to present several
distinct and separate voices, all intermingling. The rushing
opening fanfare quickly gives way to a flowing line. That smooth
landscape is soon marred, however, until the open space disappears
completely once more.
(Unfortunately, the first two notes of from this performance are missing on this recording due to circumstances beyond my control, however, I didn't want you to miss Andrew Friedrich's wonderful performance.)
|Paroxysm||For Flute Quartet. Fast and furious, this is not your standard flute quartet.|
|Porch Music||For Flute Choir (Piccolo, 4 C Flutes, Alto Flute, Bass Flute) Sitting on a porch swing high in the Appalachia mountains, the evening sounds ebb and flow over the listener.|
||For Low Voice with Piano
Accompaniment. Text by Maggie Rowe (used with permission): Quaker Hugh, after knocking out a Redcoat.
The conflict and personal reflection brought about by the realities of
|Shame, Guilt and Trickery||A work for Mixed Ensemble (Flute/Alto Flute, Clarinet, Oboe, Bassoon, Viola, Double Bass, Piano, and Percussion). The haunting strains of the flute soon give way to driving rhythms and melodies chasing through the ensemble.|
|So Beautiful||For Women's Voices (SSAA). The poem and original melody are by Maggie Rowe, with Diane providing the arrangement and additional music.|
||For Flute, Clarinet, Violin,
Cello, Percussion. Commissioned for the grand opening of the
Matilda Joslyn Gage House. Five short movements use the speeches
and writings of Gage as inspiration.
|Woodwind Waltz||For Woodwind Quintet. Exactly as the title suggests, a waltz from beginning to end. A minor beginning soon moves to a fugal section, with an almost chorale-like ending.|
|Yemanja||For two women's voices and
Brazilian percussion. Honoring the annual celebration and gift
offerings to the goddess Yemanja by the Orishas. Text by Diane
Jones, with translation by Dr. Elisa M. Dekaney.