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"MOMENT to MOMENT" for Trombone Octet + Bass Trombone Solo

bass trombone solo; 6 tenor trombones; 2 bass trombones

"MOMENT to MOMENT" for Trombone Octet + Bass Trombone Solo
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(The) Cherry Tree Carol (2003)

for medium voice and piano.

(The) Cherry Tree Carol (2003)
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(The) Cherry Tree Carol (2011)

for SATB and piano.

A lovely, haunting melody, this setting of The Cherry Tree Carol is for SATB and piano. A Wonderful song for the Christmas Season, this version is not difficult and could be sung by high school and college choirs as well as community and professional choirs. "The Cherry Tree Carol" is one of the most popular of English religious folk ballads. During Medieval times, it was frequently dramatized in folk plays and pageants. This is a wonderful ballad for the season.

(The) Cherry Tree Carol (2011)
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A Choral Quilt of Hope Full Version (2012)

SSA or SATB and piano.Adapted by Susan Suntree

A Choral Quilt of Hope Full Version (2012)
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A Choral Quilt of Hope Preamble (2010)

SSA or SATB and piano.Adapted by Susan Suntree

"A Choral Quilt of Hope" is a beautiful adaptation by Susan Suntree of the Universal Declaration of Human Rights document which was adopted by the UN General Assembly in 1948, on 10 December - forever after Human Rights Day around the world.; a document so powerful in its meaning and intent, it should be known in every language, in every village, town, and country. Our hope is to have this work performed in a multitude of languages and places throughout the world. The work may be sung in unison or in parts with piano or ogan accompaniment.

A Choral Quilt of Hope Preamble (2010)
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A Golden Celebration (2014)

Piano trio: violin, 'cello, piano

Commissioned by Sandra Wiese, member of the Onyx Circle, in celebration of the 50th Anniversary of the Mu Phi Epsilon Foundation. World Premiere at the 2014 Mu Phi Epsilon Convention in Sacramento, CA. on July 30, 2014 with former winners of the Mu Phi Epsilon International Competition Jorge Avila, violin, Marek Szpakiewicz, cello and Yukiko Sekino, piano performing the Premiere. I was honored to be the guest speaker at the Mu Phi Epsilon Foundation's 50th Anniversary luncheon and to give a Workshop during the convention.

A Golden Celebration (2014)
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Acadian Dreams (2016)

flute and piano

"Acadian Dreams" was commissioned by flutist, Rebecca Jeffreys, in honor of her father whose lineage is from Acadia. This one movement work is programatic and tells, through music, the history of the Acadian people immigrating from France to Nova Scotia in the 1600s. Longfellow composed his epic poem, "Evangeline", based on the the Acadian people, and it ends in the contemporary influence of Zydeco music in New Orleans. "Acadian Dreams" is published and can be purchased through Kenter Canyon Music (ASCAP). It is also available through Theodore Front Music Literature and FluteWorld.

Acadian Dreams (2016)
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Across the Cs (2015)

flute quintet: piccolo, 2 c flutes, alto, bass flutes

Commissioned by the wonderful Norwegian group, 5 på Tvers/ 5 Across for the 2015 NFA convention in Washington, DC. Members: Mari Sundsaasen Innervik, Anne Hveding, Linn Annett Ernø, Ragnild Døsen and Henriette Wie Flaig. Since California is many seas apart from Norway, the title of the piece is a takeoff of the fact that flutes, in general, are C instruments and we are seas apart. The piece is programmatic in nature, starting with the ensemble blowing across their instruments and then slowly finding their way across the waves and over to their native country. This piece should have a strong bass flute player and is definitely worth the effort!

Across the Cs (2015)
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Americana Quartet (2008)

flute and string trio: violin, viola, 'cello

Commissioned by Chamber Music Palisades (Delores Stevens and Susan Greenberg, co-founders and directors) in 2008, Americana Quartet began its development when I was fortunate to have been granted a residency at the Ucross Foundation in Wyoming in the fall of 2007. An idyllic setting for creative thought, the environment at Ucross is perfectly suited to freely allow thoughts to gather, develop, throw away, discover, re-discover, blossom and develop. In addition to the blissful energy of discovery, the Ucross Foundation is situated in the high mountains/desert plains of North Central Wyoming. Antelopes and deer freely roam; birds soar and, unfortunately, sometimes hunters hunt. Through the combination of experiences, seeds of this work developed and were formed The western/ Appalachian feel of the fiddle tune and rhythmic playfulness of the piece emerged. Then, from Wyoming and its idyllic setting, I went to New York with its jazz flavored energy and influences. What could be more American than Boogie Woogie and Appalachian flavors. Hence, Americana Quartet came into being. The works is approximately 12 minutes long and can be performed in sections, although it is preferable to perform it in its entirety for the full Americana experience

Americana Quartet (2008)
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Angels We Have Heard On High (2012)

violin, cello, piano/

Angels We Have Heard On High (2012)
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Angels We Have Heard On High (2021)

flute, clarinet, piano/

Angels We Have Heard On High (2021)
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Animalogy (n.) (2006)

woodwind quintet

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.

Animalogy (n.) (2006)
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Annabel Lee(2018)

for Baritone/bass voice; words by EA Poe

Annabel Lee(2018)
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BOP! for Oboe, Bassoon, and Piano

v. for oboe, bassoon and piano

A playful, fun work commissioned by The Arundo Chamber Ensemble and premiered at IDRS in Boulder, CO 2022

BOP! for Oboe, Bassoon, and Piano
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BOP! for Soprano Sax, Tenor Sax, and Piano

v. for soprano sax, ten sax and piano

A playful, fun work commissioned by The Arundo Chamber Ensemble and premiered at IDRS in Boulder, CO 2022

BOP! for Soprano Sax, Tenor Sax, and Piano
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BassooNova (2013)

solo bassoon

Commissioned by Andrew Moore, a senior at Miami University at Oxford, Ohio, this unaccompanied bassoon piece has the feel of a bossa nova and should delight players and audiences. Andrew premiered the work in his senior recital in the spring of 2013.

BassooNova (2013)
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Bassoonet Boogie (2003)

duet for clarinet and bassoon

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

Bassoonet Boogie (2003)
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Between the dark and daylight (2007)

for flute, violin, viola, cello, harp

The three movements are titled:
1. Nightdreams
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”.

Between the dark and daylight (2007)
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Between the dark and daylight (v.2015)

version for flute, violin, clarinet, cello, piano

Between the dark and daylight (v.2015)
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Boundaries (2004-05)

String Orchestra

Originally written for String Quintet, Boundaries for String Orchestra was revised in 2004 and 2005 and performed several times at the Pennsylvania Academy of the Arts and in the 2005 Orchestral Festival, Landisville, PA. under the direction of Dr. Michael T. Jamanis. Most recently, Boundaries was performed by The New Millenium Chamber Orchestra under the direction of James Frieman. A strong, bold, tonal work which had its genesis from a boundary dispute I was having with a neighbor.

Boundaries (2004-05)
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Boundaries 2 (2002)

piano trio for vln, cello, pn

Boundaries 2 (2002)
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Boundaries 4 (2019)

oboe, vln, vla, cello, bass

Boundaries 4 (2019)
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Boundaries3 for String Quintet (2013)

string quintet for 2 vln, vla, cello, bass

Written for and premiered by The Salieri String Quintet in Seattle, WA
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.

Boundaries3 for String Quintet (2013)
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CT. Tango Nuevo (2007) for alto flute and guitar

duet for alto flute and guitar

An adaptation of LA Tango Nuevo, the commissioners of the original piece, Corey Whitehead and Alan Durst, 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. Happily, the work has been chosen to be performed for the Celebrazioni Trentennale Della Fondazione Adkins Chiti: Donne In Musica in Rome in November, 2008. It is the only work chosen from the USA for this concert of Music of Three Americas. 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.

CT. Tango Nuevo (2007) for alto flute and guitar
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California Suites (2015)

Picc3, 4 c flutes, 4 alto flutes, 4 bass flutes, 2 contra-bass flutes, 1 sub-contrabass flute (or bass)

California Suites (2015)
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Christmas Medley for Flute, Clarinet, Piano

flute, clarinet, piano

Christmas Medley for Flute, Clarinet, Piano
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Circadia (2002)

for cello and piano

Originally composed for bassoon and piano, this transcription suits the cello with piano. The three movements are titled:
1. Cycles - Commissioned by Carolyn Beck, "Circadia", a sonata for bassoon and piano in three movements, refers to the daily pulse, rhythms and cycle of activities observed in many living organisms. The first movement, "Cycles", is a wild and disjointed chase between the instruments. The cyclic rhythms vary between a triplet motif with the bassoon both chasing and being chased by the piano, and a more jazzy section with the two instruments figuratively and literally playing with one another. The movement ends with the instruments playing the original motif ensemble.
2. Nightfall - Since the horrible events of 9/11, our world seem to be moving with harrowing speed toward the precipice of Armageddon. The second movement, "Nightfall", is a reflective, melancholy and brooding piece which mirrors the descent from day into night. Finally "Spring Ahead" (which refers to the change to daylight savings time in the spring) is a ray of hope in which bassoon and piano have fun cavorting and playing tricks on one another.
3. Spring Ahead - Lori Alexander, composer writes: "Your piece was rich with ideas... very full harmonically, and melodically:... A very, very substantial, moving and impressive work. Congratulations!"

Circadia (2002)
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Circadia (2002) for bassoon and piano

for bassoon and piano

Three movements for Bassoon and Piano. Commissioned by Carolyn Beck. The three movements are titled:
1. Cycles - Commissioned by Carolyn Beck, "Circadia", a sonata for bassoon and piano in three movements, refers to the daily pulse, rhythms and cycle of activities observed in many living organisms. The first movement, "Cycles", is a wild and disjointed chase between the instruments. The cyclic rhythms vary between a triplet motif with the bassoon both chasing and being chased by the piano, and a more jazzy section with the two instruments figuratively and literally playing with one another. The movement ends with the instruments playing the original motif ensemble.
2. Nightfall - Since the horrible events of 9/11, our world seem to be moving with harrowing speed toward the precipice of Armageddon. The second movement, "Nightfall", is a reflective, melancholy and brooding piece which mirrors the descent from day into night. Finally "Spring Ahead" (which refers to the change to daylight savings time in the spring) is a ray of hope in which bassoon and piano have fun cavorting and playing tricks on one another.
3. Spring Ahead - Lori Alexander, composer writes: "Your piece was rich with ideas... very full harmonically, and melodically:... A very, very substantial, moving and impressive work. Congratulations!"

Circadia (2002) for bassoon and piano
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Circadia 1.Cycles

three movements for bassoon and piano

Three movements for Bassoon and Piano. Commissioned by Carolyn Beck. The three movements are titled:
1. Cycles - Commissioned by Carolyn Beck, "Circadia", a sonata for bassoon and piano in three movements, refers to the daily pulse, rhythms and cycle of activities observed in many living organisms. The first movement, "Cycles", is a wild and disjointed chase between the instruments. The cyclic rhythms vary between a triplet motif with the bassoon both chasing and being chased by the piano, and a more jazzy section with the two instruments figuratively and literally playing with one another. The movement ends with the instruments playing the original motif ensemble.
2. Nightfall - Since the horrible events of 9/11, our world seem to be moving with harrowing speed toward the precipice of Armageddon. The second movement, "Nightfall", is a reflective, melancholy and brooding piece which mirrors the descent from day into night. Finally "Spring Ahead" (which refers to the change to daylight savings time in the spring) is a ray of hope in which bassoon and piano have fun cavorting and playing tricks on one another.
3. Spring Ahead - Lori Alexander, composer writes: "Your piece was rich with ideas... very full harmonically, and melodically:... A very, very substantial, moving and impressive work. Congratulations!"

Circadia 1.Cycles
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Clarinets Boogie (2005)

duet for clarinet and bass clarinet

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.

Clarinets Boogie (2005)
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Climate Change (2022)

for oboe, clarinet, and bassoon

Climate Change (2022)
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Courage (2000)

2222 4331 2 perc, timp, stgs

A bold, powerful works, rhythmic and melodic with underlying snare drum military-like heartbeat. Opening melody from the brass is taken over by the woodwinds and then the strings. Easy to moderate for strings, more difficult for horns but worth it! Piccolo players love this piece. An outgrowth of my battle with Breast Cancer, Courage speaks to the strength in all of us to overcome adversity in our lives. Particularly suitable for patriotic programming as well as an opener for most any concert. Most recent performances include The Houston Symphony, Kirk Smith conducting, The Hewlett-Packard Symphony Orchestra and The Cherokee Symphony. The Los Angeles Doctors Symphony Orchestra has performed it many times, as have numerous other community and youth orchestras including The Dubuque Youth Orchestra, Brian Hughes conducting, The Kona Chamber Symphony Orchestra with Ken Staton conducting, and Northern Arizona University Symphony under the direction of Kirk Smith.

Courage (2000)
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Courage for Winds (2009)

Picc323BsCl2 Alt,Ten,Bar Sax, 343 Bs Tr Euph Tuba Timp + 3Perc

Originally written for orchestra, Courage for Winds is a bold, powerful work, rhythmic and melodic with underlying snare drum military-like heartbeat. Opening melody from the brass is taken over by the woodwinds and then the saxophones. The work is inspiring and heartfelt. Brass and Piccolo players love this piece. An outgrowth of my battle with Breast Cancer, Courage for Winds speaks to the strength in all of us to overcome adversity in our lives. Jeff Boeckman and the Inland Empire Youth Wind Symphony premiered the work. Subsequently, Courage for Winds has been performed by numerous groups including The Long Beach Municipal Band, Larry Curtis, conducting, The West Point Military Band, LTC Commander Tod Addison, Conductor and Los Angeles Symphonic Winds, Stephen Piazza, conductor. Particularly suitable for patriotic programming as well as an opener for most any concert.

Courage for Winds (2009)
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Cuban Stories

flute, bass clarinet, viola and piano

Cuban Stories, commissioned by Chamber Music Palisades, Susan Greenberg and Delores Stevens, co-founders and directors, was a happy outcome of my trip to Cuba in December of 2013. A remarkable and exciting trip that introduced me to both the old and the new, pre-and-post revolution. In the creating of this work, I attempted to bridge the gap between the two Cubas. It is a trip I would gladly take again!

Cuban Stories
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Daffodils (2013)

words by William Wordsworth

A beautiful setting of the poem by William Wordsworth perfect for a spring concert

Daffodils (2013)
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Daffodils for BRASS ensemble

trumpet, French horn, trombone, tuba,

This adaptation of my choral work, Daffodils, was transcribed for brass ensemble by Andrew Heath and premiered on March 3, 2024.

Daffodils for BRASS ensemble
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Daffodils for Bassoon Octet

8 bassoons

Daffodils for Bassoon Octet
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Daffodils for Brass Ensemble

trumpet, French horn, trombone, tuba

This transcription of my choral work, Daffodils, was done by Andrew Heath, director of Mystic Brass Ensemble and premiered on March 3, 2024

Daffodils for Brass Ensemble
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Daydreams (2007)

flute, violin, viola, cello harp

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.

Daydreams (2007)
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Dog Tales (2014)

flute/piccolo, clarinet/bass clar, piano

When Palisades Virtuos commissioned me to compose a work for their November 2014 concerti, I was told that the theme of the concert was "Music Borne out of Adversity". Another holocaust piece, I thought? Or maybe something to do with Ebola? Oh no. Too depressing. How was I to know that, at that exact time, my rescue dog, Dodger, would run away from a friend's home miles from where we live. Frightened and trying to find his way back home, he ended up even further away. Good fotune smiled down upon us! A kind and generous dog lover found him and held him in his car until we made our way to pick up this tired animal who was totally dehydrated and exhausted from running miles to who-knows-where. Those who know Los Angeles and the enormous distances between places and the number of cars know that this little creature had to cross many four-to-six lane boulevards and streets before his little legs could carry him no further. As Tennessee Williams said "the kindness of strangers" was, in this case, what saved my precious dog. To the homeless lady who held him, to my friend who drove me to him, and to the man who kept him safe in his car, I forever thank them, wherever they are.
The three movements are titled:
1. Three Dog Night - Each movement of "Dog Tales" has a story. The first movement, "Three Dog Night" refers to my dog-sitting for neighbors who have two dogs and go away frequently on long trips. One can only imagine what ensues during those long nights at my house trying to take care of three dogs. Hence, the irregular time signatures and the overlapping motifs.
2. The Artful Dodger - The second movement, "The Artful Dodger" is a tone poem to my dear dog who "artfully" managed to "dodge" the traffic and possible horrible outcomes on his journey.
3. Mutt & Jeff - The last movement, "Mutt & Steff", is a short and, I think, humorous homage to a chihuahua (think small dog=piccolo) and a great dane (bass clarinet) who try to figure out how to get along and live together.

Dog Tales (2014)
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Doppler Effect (1998)

flute, viola, harp

Review from LucidCulture: 01/19/2014: Last night in the Lincoln Center neighborhood, the Fire Pink Trio defied the deep freeze with a fascinating performance that was by turns lively, kinetic and balmy, sponsored by the New York Viola Society. Flutist Debra Reuter-Pivetta, violist Sheila Browne and concert harpist Jacquelyn Bartlett began the evening with Doppler Effect, by Adrienne Albert. Essentially, what the composer does with the effect is very clever – she turns it into a vamp, which the trio latched onto with a verve that matched Albert’s intention of evoking a busy pedestrian plaza in Rome, and the challenge of finding calm amidst the bustle. This purposeful and nonchalantly catchy piece gave Reuter-Pivetta and Browne a chance to air out their resonant lower registers against Bartlett’s rhythmic drive, with some droll glissandoing doppler effects finally appearing as the bluster reached a crescendo.
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 (1998)
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Doppler Effect (2003)

version for sop sax, cello, piano

Doppler Effect (2003)
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Doppler Effect (2003)

version for flute, bn, harp

This version of Doppler Effect was premiered by Susan Greenberg, flute, David Riddles, bassoon, and Gayle Levant, harp and has been among the most popular versions of this piece.

Doppler Effect (2003)
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Doppler Effect (2005)

version for flute, bassoon, piano

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 (2005)
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Doppler Effect (2005)

version for violin, cello, piano

Doppler Effect (2005)
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Doppler Effect (2006)

version for trumpet, bassoon, piano

Doppler Effect (2006)
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Doppler Effect (2006)

version for flute, alt flute, piano

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 (2006)
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Doppler Effect (2008)

version for flute,alto saxophone, piano

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! Actually, with the alto sax version, the number has jumped to 10! We are keeping counthere:-)!

Doppler Effect (2008)
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Doppler Effect (2008)

version for flute, clarinet, piano

Doppler Effect (2008)
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Doppler Effect (2010)

version for flute, horn, piano

Transcribed for the Zinkali Trio in New York, this version brings the number of Doppler Effect versions out in the world to 11.

Doppler Effect (2010)
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Doppler Effect (v. 2011)

version for clarinet, baritone saxophone, piano

Doppler Effect (v. 2011)
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Doppler Effect (v. 2011)

version for flute, cello, piano

This is the latest, hot-off-the-presses version of Doppler Effect. Transcribed for The Rouseau Trio, this version brings the number of Doppler Effect versions to 12, and with the newest version for flute, bassoon and piano, the number has jumped to a Bakers Dozen and still counting!

Doppler Effect (v. 2011)
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Doppler Effect (v. 2014)

version for clarinet, bassoon, piano

This is the latest, hot-off-the-presses version of Doppler Effect. Transcribed for David Oyen of Morehead State University in Kentucky, this version brings the number of Doppler Effect versions to 14,

Doppler Effect (v. 2014)
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Doppler Effect (v. 2017)

version for oboe, bassoon, piano

Yet another version of Doppler Effect, this one for Oboe, bassoon, and piano. Each version has its own unique and expressive sound.

Doppler Effect (v. 2017)
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Doppler Effect (v. 2022)

Version for 2 trumpets and piano

Doppler Effect (v. 2022)
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Doppler Effect for Clarinet, Horn, and Piano (2024)

clarinet, horn, piano

Doppler Effect for Clarinet, Horn, and Piano (2024)
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Doppler Effect for flute, cello, and harp

version for flute, cello, harp

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 for flute, cello, and harp
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Doppler Effect for flute, cello, harp

version for flute, 'cello, piano

Doppler Effect for flute, cello, harp
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Eastern Hymn for Saxophone Quartet

saxophone quartet

Eastern Hymn (2009) for Saxophone Quartet began as a study in combining singing and playing instruments simultaneously. As a former singer, I am intrigued by the influence the voice has on producing sound in pitched instruments. Through this process evolved the sound of a drone like instrument as in middle Eastern music. As the world gets increasingly smaller and cultures become more intertwined, the progress of cross-pollenating musical genres becomes more evident. Eastern Hymn is the cross pollenation of the East and the West, i.e. Indian ragas and Western jazz, a tradition I grew up with (the Western part!) and the music I love to listen to. This work is dedicated to Dr. Alan Durst and the California State University Fresno Saxophone Quartet.

Eastern Hymn for Saxophone Quartet
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Elegy (2010)

for two cellos

"Elegy" is a beautiful, elegiac work dedicated to a dear friend who died suddenly. In her memory, I have written this short but intensely personal homage to a lost friend. The marvelous cellists, Ruslan Biryukov and Maksim Velichken (both students of Rostropovich) premiered this work in August, 2010 at the Steinway Concerts in the Canyon series.

Elegy (2010)
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Elegy (v. 2020)

for violin and cello

"Elegy" is a beautiful,elegiac work dedicated to a dear friend who died suddenly. In her memory, I have written this short but intensely personal homage to a lost friend. The wonderful violinist, Anna Cromwell, and cellist, Mira Frisch have recorded this work on their CD, Dancing on Glass, released by Albany in 2020.

Elegy (v. 2020)
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Et In Terra Pax (2008)

words by Adrienne Albert

Commissioned by The Gregg Smith Singers for the 34th Annual Choral Music Festival in Saranac Lake, NY in the summer of 2007, the work was premiered by them in a beautiful church close to the river. I have melded the Latin text with English words to create a song about lasting peace and love in the world. A relatively easy piece with a high soprano part for high school, college, community and professional choirs.

Et In Terra Pax (2008)
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Fanfare for 13 Brass (1998)

4 horn, 4 trumpet, 4 trombone, 1 tuba

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.

Fanfare for 13 Brass (1998)
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Fanfare for 13 Brass (1998)

Brass Ensemble, 4 hn, 4 tpt, 4 tbn, 1 tuba

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. Most recently performed by Brass At The Beach at Cal State University, Long Beach, Rob Frear, Director.

Fanfare for 13 Brass (1998)
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Fanta+z for Harp & Ensemble (2002)

harp, flute, clarinet, vln, viola, cello, bass

Originally Commissioned by Corky Hale Stoller. and Premiered by Marcia Dickstein of The Debussy Trio in 2002 with the Young Musicians Foundation Orchestra in Beverly Hills, CA. 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. Revised 2019

Fanta+z for Harp & Ensemble (2002)
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Fantasia (2002) for clarinet and piano

clarinet and piano

"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 at that time was 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. In the spring of 2013, the wonderful alto saxophonist and DMA student at USC AND student of Doug Masek, Chika Inoue, performed the new version for alto sax with Mary Au, pianist. In 2014, the wonderful flutist, Rik Noyce, asked me to compose a version for C Flute. Rik gave the Canadian premiere in June of 2015 and has performed it numerous times in the U.S.

Fantasia (2002) for clarinet and piano
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Fantasia (v. 2012)

version for bass clarinet and piano

"Fantasia" (2014) was originally composed for the superb saxophonist (and clarinetist), Doug Masek. .When the marvelous flutist, Rik Noyce, heard the piece he declared that he wanted to perform it on flute. With its mood shifts, rhythmic changes, and harmonic and melodic surprises, it is a challenging and fun piece for both the flutist and the pianist. Too often, the piano is left as a step-child to the solo instrument. This work explores the colors of both instruments, has jazz and Latin influences and challenges the players to listen to one another. In the spring of 2013, the wonderful alto saxophonist and DMA student at USC AND student of Doug Masek, Chika Inoue, performed the new version for alto sax with Mary Au, pianist. In 2014, the wonderful flutist, Rik Noyce, asked me to compose a version for C Flute. Rik gave the Canadian premiere in June of 2015 and has performed it numerous times in the U.S.

Fantasia (v. 2012)
00:00 / 01:04
Fantasia (v. 2014) for Alto sax and piano

version for alto saxophone and piano

"Fantasia" (2014) was originally composed for the superb saxophonist (and clarinetist), Doug Masek. With its mood shifts, rhythmic changes, and harmonic and melodic surprises, it is a challenging and fun piece for both the saxophonist and the pianist. Too often, the piano is left as a step-child to the solo instrument. This work explores the colors of both instruments, has jazz and Latin influences and challenges the players to listen to one another. In the spring of 2013, the wonderful alto saxophonist, Chika Inoue, performed the new version for alto sax with Mary Au, pianist.

Fantasia (v. 2014) for Alto sax and piano
00:00 / 02:00
Fantasia (v. 2014) for flute and piano

version for flute and piano

"Fantasia" (2014) was originally composed for the superb saxophonist (and clarinetist), Doug Masek. .When the marvelous flutist, Rik Noyce, heard the piece he declared that he wanted to perform it on flute. With its mood shifts, rhythmic changes, and harmonic and melodic surprises, it is a challenging and fun piece for both the flutist and the pianist. Too often, the piano is left as a step-child to the solo instrument. This work explores the colors of both instruments, has jazz and Latin influences and challenges the players to listen to one another. In the spring of 2013, the wonderful alto saxophonist and DMA student at USC AND student of Doug Masek, Chika Inoue, performed the new version for alto sax with Mary Au, pianist. In 2014, the wonderful flutist, Rik Noyce, asked me to compose a version for C Flute. Rik gave the Canadian premiere in June of 2015 and has performed it numerous times in the U.S.

Fantasia (v. 2014) for flute and piano
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Fluttering Fronds (2014)

Unaccompanied cello

A new and interesting transcription of the piece, "Fronds", commissioned by baritone saxman, Wayne Leechford, I found it challenging and exciting to rework the piece for cello. Living in paradise (I live in Southern California although not everyone considers it paradise:-), we am lucky to have two swimming pools on the property where some 80 apartment units are located. On the bluest and brightest of sunlit days, I swim and look up at the palm trees swaying in the breeze. The movements of the palm fronds are hypnotic, swaying in a rhythmic way that I have attempted to translate musically for the cello.

Fluttering Fronds (2014)
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Fronds for Unaccompanied Baritone Saxophone

Unaccompanied baritone saxophone

Commissioned by baritone saxophonist and friend, Wayne Leechford, "Fronds" came about through my daily workout in the pool and watching the palms blowing in the breeze making different and unusual movements like dancers in the sky. Living in paradise (I live in Southern California although not everyone considers it paradise:-), we am lucky to have two swimming pools on the property where some 80 apartment units are located. On the bluest and brightest of sunlit days, I would do the back stroke and look up at the palm trees swaying in the breeze. The movements of the palm fronds were hypnotic and they swayed in a rhythmic way that I have attempted to translate into the sounds of the baritone saxophone.

Fronds for Unaccompanied Baritone Saxophone
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Gershwin-itis for Solo Bass Clarinet

Bass Clarinet solo

This piece was conceived during a wonderful online flute class during the Corona Virus lockdown. Hence, the title, “Gershwin- itis”. Thinking about the myriad diseases that are occurring during this time, I use the term as a pun describing my personal disease shutdown. Gershwin’s Preludes that I learned early on as a piano student were among my favorite pieces. The opening of this piece solo mimics the opening phrase of Prelude #1. As a young woman, I longed to be a jazz singer and this piece reminds me of the smoky voices of June Christy and Peggy Lee: Jazzy, sultry, sexy, and playful.

Gershwin-itis for Solo Bass Clarinet
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Gershwin-itis for Viola solo

Viola

This piece was conceived during a wonderful online flute class given by composer, Jenni Brandon, during the Corona Virus lockdown. Hence, the title, “Gershwin- itis”. Thinking about the myriad diseases that are occurring during this time, I use the term as a pun describing my personal disease shutdown. Gershwin’s Preludes that I learned early on as a piano student were among my favorite pieces. Originally composed for alto flute, the opening solo mimics the opening phrase of Prelude #1. As a young woman, I longed to be a jazz singer and this piece reminds me of the smoky voices of June Christy and Peggy Lee: Jazzy, sultry, sexy, and playful.

Gershwin-itis for Viola solo
00:00 / 04:11
Gershwin-tis for Solo Alto Flute

Alto Flute Solo

This piece was conceived during a wonderful online flute class given by composer, Jenni Brandon, during the Corona Virus lockdown. Hence, the title, “Gershwin- itis”. Thinking about the myriad diseases that are occurring during this time, I use the term as a pun describing my personal disease shutdown. Gershwin’s Preludes that I learned early on as a piano student were among my favorite pieces. The opening of this flute solo mimics the opening phrase of Prelude #1. As a young woman, I longed to be a jazz singer and this piece reminds me of the smoky voices of June Christy and Peggy Lee: Jazzy, sultry, sexy, and playful.

Gershwin-tis for Solo Alto Flute
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Global Warming (rev 2007)

4 movements for horn and piano

The four movements are titled:
1. Temperature Rising
2. Ice Melting
3. Spring Fever
4. Windmills
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. Most recently as "Global Warming", it had several performances by the wonderful hornist/composer Lydia Busler-Blais from Vermont and pianist, Mary Au and will have its East Coast premiere in January, 2014 but the fabulous Susan LaFever, horn and Ron Levy, piano.
Since most of my music is programmatic by nature, it seems prescient that I titled this work "Climate Control" back in 2001 at its premiere. In revising the work, I retitled it "Global Warming" for obvious reasons. 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. "Ice Melting" 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.

Global Warming (rev 2007)
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Gracious Gifts for Bassoon Octet (2024)

6 Bassoons, 2 Contra-bassoons

A lovely, lyrical, rhythmic work loosely based on Amazing Grace premiered will be performed, livestreamed, and audio/video recorded on March 26, 2024 @ 7:30 pm MST. ☺️💗

Gracious Gifts for Bassoon Octet (2024)
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Gracious Gifts for Trombone Octet

6 tenor trombones, 2 bass trombones

Gracious Gifts for Trombone Octet
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Homage to B7 (2018)

piano solo

When the wonderful pianist, Susanne Kessel, approached me to compose a short work for her extraordinary project, 250 Piano Pieces for Beethoven, I was honored and wondered what could I possibly compose that could, in any way, speak about the greatest composer of all. After several months of revisiting some of my favorite Beethoven works from the Moonlight Sonata to his last string quartets, I finally chose to compose a piano work based on the most beautiful movement of his 7th Symphony, the Allegretto, a work that brings tears to my eyes every time I hear it performed. Hence, Homage to B7. It is said that at the première of his 7th symphony, Beethoven remarked that it was one of his best works. I think most audiences would agree. Susanne Kessel has performed this work numerous times in Germany and beyond.

Homage to B7 (2018)
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Homeward Bound (2017-19)

2222 4331 2 perc, timp, stgs

Commissioned in 2017 by The Holyoke Symphony Orchestra, David Kidwell, Music Director, "HOMEWARD BOUND" is a work welcoming the men and women home who have served in wars and given service to our country. Some people come home to continue fruitful and productive lives. Others come home and need help for the rest of their lives. Some do not come home at all. A great work for Memorial Day, July 4th, and other concerts. A worthwhile work for moderate to advanced orchestras. Most recently, HOMEWARD BOUND was performed at the Soraya Performing Arts Center by the CSUNYO under the direction of Dr. John Rosigno.

Homeward Bound (2017-19)
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Horn Quartet #1

4 Horns

A transcription of the original MIRROR IMAGES for saxophone quartet. This work seems to work for all instrumentations and this horn quartet is no exception.

Horn Quartet #1
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Images (rev.2008)

piano trio for violin, cello, piano

Images (a revised version of "Japanese Gardens") is the second of a series of pieces that have a common motif. Growing up in Southern California with its desert and Asian influences prompted the composer to design a garden in her house in the hills with a river of rocks and boulders surrounded by grasses and green plants. "Images" evolved out of the designing of this space. Peaceful, melodic, melancholy and richly textural, this work is suited to compliment most any program. The marvelous piano trio, Alto Polis, have taken this work on as their own and perform it beautifully in many concert venues.

Images (rev.2008)
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In Memorium

words by Fred Haines

In Memorium
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In This Place (1994)

SATB words by Fred Haines

In This Place (1994)
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Interiors (2003)

for string orchestra

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. Most recemtly, Interiors was performed by the United States Army Strings in Washington, DC under their marvelous director, Maj. TodA. Addison.

Interiors (2003)
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Japanese Gardens (1996)

piano trio for violin, cello, piano

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 (1996)
00:00 / 05:06
Japanese Gardens (2006)

Trio for vln, tenor, sax, pn

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)
00:00 / 01:04
Japanese Gardens (2006)

trio for soprano sax, cello, pn

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)
00:00 / 01:04
Japanese Gardens (2013)

Japanese Gardens (2013)
00:00 / 01:04
Japanese Gardens (2013) for flute, bassoon, harp

flute, bassoon, harp

Japanese Gardens (2013) for flute, bassoon, harp
00:00 / 01:04
Japanese Gardens (v,2011)

trio for flute, clarinet, piano

Japanese Gardens (v,2011)
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L.A. Tango Nuevo

Soprano Saxophone, piano

L.A. Tango Nuevo
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L.A. Tango Nuevo

Soprano sax, guitar

Commissioned by saxophonist Alan Durst and guitarist, Corey Whitehead, L.A. Tango Nuevo has been performed numerous times and recorded.

L.A. Tango Nuevo
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Lament for Sara (2010)

version for English horn and bassoon

The middle movement of the chamber work titled "Menage a Trio". "Lament" is a stand alone work for numerous instrumental duets. The original version is for alto flute and bass clarinet, but it can also be performed on low flutes, alto flute and bassoon, viola and cello and many other beautifully matched voices. An homage to a friend who passed away suddenly, "Lament " is a heartfelt work that speaks to the melancholy loss of a loved one.

Lament for Sara (2010)
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Lament for Sara (2010) alto flute, bass clarinet

for alto flute and bass clarinet

The middle movement of the chamber work titled "Menage a Trio". "Lament" is a stand alone work for numerous instrumental duets. The original version is for alto flute and bass clarinet, but it can also be performed on low flutes, alto flute and bassoon, viola and cello and many other beautifully matched voices. An homage to a friend who passed away suddenly, "Lament " is a heartfelt work that speaks to the melancholy loss of a loved one.

Lament for Sara (2010) alto flute, bass clarinet
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Let Love Not Fail (2002)

Voice, violin, flute (opt) and piano or organ

Let Love Not Fail (2002)
00:00 / 03:55
Lullaby (v. 2007)

flute, violin, viola, cello, harp

Lullaby (v. 2007)
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Lullaby (v. 2007)

version for flute, violin, clarinet, cello, piano

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.

Lullaby (v. 2007)
00:00 / 03:59
Lullaby (v. 2011)

flute, cello, piano

Lullaby (v. 2011)
00:00 / 01:04
Lullaby for Four (v. 2012)

flute, clarinet, cello, piano

"Lullaby for Four " is the latest version of "Lullaby". This version, for c flute, clarinet, cello and piano was requested by The Sirius Chamber Ensemble in Sydney, Australiafor an upcoming concert on April 4th, 2012. "Lullaby for Four" is an extended version of the original with an upbeat middle section that features each of the four instruments. Until I get a new mp3 version, the MP3 version you can listen to is by the wonderful Alto Polis Trio recorded in a live performance in 2008.

Lullaby for Four (v. 2012)
00:00 / 01:04
Lullaby for Four (v. 2014)

violin, clarinet, cello, piano

"Lullaby for Four " is the latest version of "Lullaby". This version, for c flute, clarinet, cello and piano was requested by The Sirius Chamber Ensemble in Sydney, Australiafor an upcoming concert on April 4th, 2012. "Lullaby for Four" is an extended version of the original with an upbeat middle section that features each of the four instruments. Until I get a new mp3 version, the MP3 version you can listen to is by the wonderful Alto Polis Trio recorded in a live performance in 2008.

Lullaby for Four (v. 2014)
00:00 / 01:04
Lullaby for Piano Trio (v.2008)

piano trio for violin, cello, piano

This version of Lullaby for Piano Trio was requested by my friends from the Pennsylvania Academy of Music, The Newstead Trio, who loved the piece and asked me to transcribe a version for them. Happily, it is getting many performances and seems to be a hit with musicians and audiences alike. The MP3 version you can listen to is by the wonderful Alto Polis Trio recorded in a live performance in 2008. There is also a version for string orchestra.

Lullaby for Piano Trio (v.2008)
00:00 / 01:04
Lullaby for Strings and Piano (2008)

for string orchestra and harp or piano

Lullaby for Strings and Piano (2008)
00:00 / 01:04
Lullaby for Strings and Piano (v.2008)

version for strings and piano

Lullaby for Strings and Piano (v.2008)
00:00 / 01:04
Lullaby for Three (v. 2011)

flute, viola, harp

"Lullaby for Three" is an extended version of "Lullaby" . This version is for c flute, viola and harp which I transcribed for a performance by The Debussy Trio. They performed it on a NACUSA/L.A. concert in January, 2012. This version is an extended version of the original with an upbeat middle section that features each of the beautiful instruments of the trio. The MP3 version you can listen to right now is for piano trio and is performed by the wonderful Alto Polis Trio recorded in a live performance in 2008. There is also a version for string orchestra.

Lullaby for Three (v. 2011)
00:00 / 01:04
Lullaby for Three (v. 2023)

flute, cello piano

Lullaby for Three (v. 2023)
00:00 / 01:04
MN Tango (2010)

alto flute and harp

MN Tango (2010)
00:00 / 01:04
Magnificat (2007)

SATB and organ or piano

Magnificat (2007)
00:00 / 01:04
Malala (2015)

SSAA

Malala (2015)
00:00 / 01:40
Mazal Tov (2001)

clar, trumpet, vln, bass, piano, tenor voice

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.

Mazal Tov (2001)
00:00 / 01:04
Meditation (1998)

SSAATB

Meditation (1998)
00:00 / 05:52
Menage a Trio (2010) for flute, clarinet, and bassoon

flute, clarinet, bassoon

1. Seaside Sarabande
2. Lament
3. Rolling Waves
"Menage a Trio" for flute, clarinet and bassoon version was premiered by Susan Greenberg, flute and alto flute, Helen Goode-Castro, clarinet/bass clarinet, and Carolyn Beck, bassoon in Santa Monica, CA on July 13, 2010
“Menage a Trio” is a work for 3 instruments that began as a series of Baroque-style Inventions. The first movement, Seaside Sarabande, is based on the Baroque fugue with the instruments joining one another in a playful dance at the seashore. The second movement, a duet, calls for the lower voices of the flute and clarinet (alto flute and bass clarinet) titled Lament to Sara (dedicated to my friend who recently passed away whose name happened to be Sara – as in Sarabande). The final movement returns to the melodic voicing of the first movement with a triplet feel describing Rolling Waves.

Menage a Trio (2010) for flute, clarinet, and bassoon
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Menage a Trio (2014) for oboe, clarinet, bassoon

oboe, clarinet, bassoon