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MELINDA WAGNER

MELINDA WAGNER

Awards

Works

Recordings

Reviews


b. 1957, Philadelphia

“Imagine Elliott Carter and Olivier Messiaen teaming up to write a concerto, add a certain lithe sense of mystery that is Wagner's own and you'll have some idea of ‘Extremity of Sky.’” The comparison with two of the giants of 20th and early 21st century music may give you an initial sense of Melinda Wagner’s music, blending form and fantasy, but what is the impact of that style? How does it make you feel? When Tim Page wrote those words in the Washington Post about Wagner’s Piano Concerto, he also made mention of the “prismatic color and romantic fantasy.” Expressing in words a non-verbal art form can be challenging, but time and time again, commentators on Wagner’s music seem to have no problem in finding a rich, highly descriptive, emotive vocabulary. Sure, they comment on the admirable structure with words such as “well-conceived,” “well-crafted,” “finely structured”; but the focus always moves to language associated with the joy of listening – “captivating,” “magical,” “beguiling,” “shimmering,” “attractive and intriguing,” “moments of exceptional beauty and wonderful atmosphere.” Structure provides the base, but it is the emotional response that keeps you wanting more. [Quotes include, among others, American Record Guide, Wall Street Journal, Washington Post, New York Times, and Jeanne Baxtresser, former Principal Flute of the New York Philharmonic]

Where does this emotional response originate? In the composer’s own words: “Music offers composers an immeasurably rich and generous sonic landscape in which to explore the 'life story' of each musical idea — its dramas, intrigues, joys and sorrows — a life. I strive to find various and persuasive ways of moving through the resulting temporal narrative, and to traverse a wide spectrum of expression and color on the way. Ultimately, I want listeners to know me; I want them to hear that while I enjoy the cerebral exercise, I am led principally by my ear, and by my heart.”

Wagner comments further on communicating with the audience: “There is great pressure upon composers these days simply to amuse quickly — to cultivate thrilling moments in the present of a work, without requiring the listener to engage in retrospect or anticipation. I want the audience experience to be nuanced and multi-layered, so that when a work is heard again, something different, more subtle perhaps, will be revealed.” To achieve this, she is aware of the three essential elements in a performance: the composer, the musician, and the listener. “I become very connected to the musicians who perform my music; there is always electricity in the relationship between us. I want the audience to be a part of that — to complete the circuit.”

Her colorful Concerto for Flute, Strings, and Percussion, commissioned by Paul Lustig Dunkel and the Westchester Philharmonic, was awarded the 1999 Pulitzer Prize in Music (the only flute concerto to date to win the coveted award). Since then, she has written Concerto for Trombone, for Joseph Alessi and the New York Philharmonic, and a piano concerto, Extremity of Sky, commissioned by the Chicago Symphony for Emanuel Ax, who has also performed it with the National Symphony Orchestra, the Toronto Symphony, the Kansas City Symphony, and the Staatskapelle Berlin. In addition to Extremity of Sky (2002), the Chicago Symphony Orchestra has commissioned two other major works: Falling Angels (1992), and a forthcoming work.

Ms. Wagner’s chamber works have been performed by the New York New Music Ensemble, Network for New Music, the Empyrean and Left Coast Ensembles, Orpheus Chamber Orchestra (Little Moonhead), and other leading organizations. She has also written for band: Scamp (commissioned by the United States Marine Band), and a band version of 57/7 Dash. Among her many other commissions are those from the Barlow Foundation, the Mary Flagler Cary Charitable Trust, the Fromm and Koussevitzky Foundations, the Ernst and Young Emerging Composers Fund, the American Brass Quintet, and guitarist David Starobin.

Melinda Wagner has taught at Brandeis University, Swarthmore College, Syracuse University, and Hunter College. She has lectured at many schools including Yale, Cornell, Juilliard, and Mannes, and has served as Composer-in-Residence at the Yellow Barn Music Festival, Monadnock Music Festival, Wellesley Composers Conference and the Bravo! Vail Valley Music Festival. She lives in New Jersey with her husband, percussionist James Saporito, and their children.

View scores here (roll over to view score title):


Awards


2003: Distinguished Alumni Award from the University of Pennsylvania

2001: honorary degree from Hamilton College

2000: award from the American Academy of Arts and Letters

1999: Pulitzer Prize in Music for Concerto for Flute, Strings and Percussion

1991: MacDowell Colony Resident Fellowship

1988: Guggenheim Memorial Foundation Fellowship

1988: MacDowell Colony Resident Fellowship

1986: MacDowell Colony Resident Fellowship

1986: Yaddo Resident Fellowship

1984, 1985, 1987: ASCAP Young Composer Awards


Works

Band | Chamber Ensembles and Instrumental Solos | Keyboard | Orchestra | Vocal and Choral




Band


57/7 Dash Overture for Percussion, Timpani and Concert Band -- 7'
Available from the Presser Rental Library
Additional Information: Version for Wind Ensemble transcribed by Donald C. Patterson


Scamp for Wind Ensemble (2008) -- 10'
Picc. 3 Fl. E.H. E(Cl. 6B(Cl. A.Cl. B.Cl. Cb.Cl. 2Bsn. Cbsn. – 4Hn. 4Tpt.(C.Tpt.) 3Tbn.(B.Tbn.) 2Euph. 1Tu.; S.Sax. A.Sax. T.Sax. B.Sax. Timp. 5Perc. Cb.
Available from the Presser Rental Library
Premiere Information: 9th April, 2008. Marine Band “The President’s Own” conducted by Col. Michael Colburn, MENC Conference, Milwaukee, WI.



Chamber Ensembles and Instrumental Solos


Arabesque for Solo Guitar (1999) -- 3'30"
Published: #114-41078
Commission Information: Written in honor of George Crumb’s 70th birthday
Premiere Information: David Starobin, guitar; University of Pennsylvania concert at Curtis Institute of Music, Philadelphia, PA; October 12, 1999
Recordings


Brass Quintet No. 1 (2000) -- 14'
2Tpt. Hn. Tbn. B.Tbn.(or Tu.)
Published: #114-41225
Commission Information: Commissioned by the American Brass Quintet with support from the Mary Flagler Cary Charitable Trust
Premiere Information: November 16th, 2000. American Brass Quintet, Alice Tully Hall, New York, NY.
Additional Information: Written for a concert celebrating 40th anniversary of the American Brass Quintet.

Movements:
I. Maestoso
II. Ethereal, disembodied
III. Alternately stately and lilting. Frantic

Recordings

Available Separately:

Set of parts (#114-41225P)
Full Score - Large (#114-41225S)


Concertino for Harpsichord and String Quintet (2005) -- 11'
2Vln. Vla. Vcl. Cb. Hscd.
Available from the Presser Rental Library
Commission Information: Commissioned by the Vail Valley Music Festival
Premiere Information: July 12th, 2005. Vail Valley Music Festival, Vail, Colorado. Kathleen McIntosh/Harpsichord, Timothy Fain/Violin, Henry Gronnier/Violin, Thomas Diener/Viola, Eric Gaenslen/Cello, Owen Lee/Double Bass


Little Moonhead (2008) -- 17'
Solo Vln.; 2 0 0 0 - 0 0 0 0; Hpsd. Cel. Str.
Available from the Presser Rental Library
Commission Information: Commissioned by Orpheus as part of The New Brandenburgs, with funds proved by the Mary Flagler Cary Charitable Trust
Premiere Information: March 20th, 2009. Susan Palma-Nidel, Susan Rotholz, Flutes, Renée Jolles, Violin, Orpheus Chamber Orchestra, Lang Concert Hall, Swarthmore College, Swarthmore, PA
Reviews


Pan Journal Quintet for Harp and Strings (2009) -- 14'
Hp. 2Vln. Vla. Vcl.
Premiere Information: 26th April, 2009; Elizabeth Hainen, Harp, Juilliard Quartet, Philadelphia Chamber Music Society, Perelman Theater, Kimmel Center, Philadelphia, PA
Additional Information: Published: #114-41405
Reviews


Romanze with Faux Variations (2003) -- 13'
Vln. Vcl. Pno.
Published: #114-41236
Commission Information: Commissioned by Network for New Music
Premiere Information: May 2nd, 2004. Members of Network for New Music (Susan Nowicki/Piano, Hirono Oka/Violin, Ohad Bar- David/Cello), Philadelphia, PA.
Recordings


Scritch for Oboe and String Quartet (2010) -- 14'
Oboe, 2Vln., Vla., Vcl.
Commission Information: Commissioned by the Left Coast Chamber ensemble and the Empyrean Ensemble
Premiere Information: 1st, 5th April, 2010. Left Coast Chamber Ensemble, Throckmorton Theatre, Mill Valley (1st), The Green Room, San Francisco (5th), California
Additional Information: Published: #114-41499


Sextet for Flute, Clarinet, Violin, Viola, Cello and Piano (1989) -- 13’
Published: #114-40683
Premiere Information: Society for New Music, Syracuse, NY; May 13, 1990
Recordings
Reviews

Available Separately:

Set of parts (#114-40683P)
Full Score - Large (#114-40683S)


Wick for Flute, Clarinet, Violin, Cello, Piano and Percussion (2000) -- 15’
Available from the Presser Rental Library
Premiere Information: New York New Music Ensemble, Jeffrey Milarsky, conductor; Sonic Boom Festival, Cooper Union, New York, NY; October 27, 2000
Recordings
Reviews


Wing and Prayer for Clarinet, Cello, Percussion and Piano (1996) -- 13’
Published: #114-40895
Commission Information: New York Music Teachers Association and Music Teachers National Association
Premiere Information: New York State Music Teachers Association Annual Conference; Concordia College, Bronxville, NY; October 26, 1996
Additional Information: Originally titled Psalm for Clarinet, Cello, Percussion and Piano. Winner: First Prize, League of Composers/ICSM National Competition, 1998.
Reviews

Available Separately:

Set of parts (#114-40895P)
Full Score - Large (#114-40895S)



Keyboard


Tintinnabulum for Solo Piano (1999) -- 2'
Additional Information: Published: #110-41783



Orchestra


57/7 Dash Overture for Percussion, Timpani and Orchestra (2003) -- 7'
3(dbl.Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) - 4 3 3(B.Tbn.) 1; Timp 3Perc. Pno. Hp. Str.
Available from the Presser Rental Library
Commission Information: Commissioned by Skitch Henderson and the New York Pops
Premiere Information: October 22nd, 2004. New York Pops, conducted by Skitch Henderson, season opening gala, Carnegie Hall, New York, NY.
Additional Information: Version for Wind Ensemble also available, transcribed by Donald C. Patterson


Concerto for Flute, Strings and Percussion in Three Movements (1998) -- 24’
Solo Flute; Timp., 3Perc., Hp., Pno./Cel., Str. (10-8-6-4-2)
Available from the Presser Rental Library
Premiere Information: Westchester Philharmonic, Mark Mandarano, conductor, Paul Lustig Dunkel, flute; SUNY Purchase Center for the Performing Arts; May 30, 1998
Additional Information: Winner: 1999 Pulitzer Prize for Music.

Movements:
I. Playful
II. Sad, simple; warm
III. Quarter note = ca. 100

Recordings
Reviews

Available Separately:

Solo Part with Piano Reduction (#114-41089)
Full Score - Study (#416-41189)
Audio CD (#498-00453)


Concerto for Trombone and Orchestra (2006) -- 24'
Solo Trombone; 3(3dbl.Picc.) 3(3dbl.E.H.) 3(B.Cl.) 3(Cbsn. – 4 3 3 1; TImp. 4Perc. Hp. Pno.(dbl.Cel.) Str.
Available from the Presser Rental Library
Premiere Information: 22nd, 23rd, 24th February, 2007. Joseph Alessi, Trombone, New York Philharmonic Orchestra, conducted by Lorin Maazel, Avery Fisher Hall, New York, NY

Movements:
I. Satyr
II. Elemental Things
Litany (Interlude)

III. Catch

Recordings
Reviews


Extremity of Sky Concerto for Piano and Orchestra (2002) -- 28’
Solo Pno.; 3(Picc.) 3(E.H.) 3(B.Cl.) 2 - 4 3 3 1; Timp. 4Perc. Hp. Cel. Str.
Available from the Presser Rental Library
Commission Information: Created with funds from the Prince Prize for Commissioning Original Work
Premiere Information: Emanuel Ax, piano, Chicago Symphony Orchestra, Daniel Barenboim, conductor; May 22, 2003

Movements:
I. Opening
II. Departure
III. Prayer-chain
IV. Varied Return

Reviews


Falling Angels a Poem For Orchestra (1992) -- 14’
3(Picc.)-3(E.H.)-3(B.Cl.)-3(Cbsn.); 4-3-3-1; Timp., Perc., Hp., Pno., Cel., Str.
Available from the Presser Rental Library
Commission Information: Ernst and Young Emerging Composers Fund, for the Chicago Symphony Orchestra
Premiere Information: Chicago Symphony Orchestra, Daniel Barenboim, conductor; February 4, 1993
Reviews

Available Separately:

Full Score - Large (#416-41147)



Vocal and Choral


Ancient Music for SATB Chorus (1994) -- 4’
Published: #312-41695
Additional Information: Text by Melinda Wagner.


Four Settings for Soprano and Ensemble (2004) -- 20'
Soprano; Fl. Cl. Vln. Vla. Vcl. Cb. Pno.
Available from the Presser Rental Library
Commission Information: Commissioned by The Wharton Center for the Performing Arts for The Chamber Music Society of Lincoln Center.
Premiere Information: 10th February, 2005. Christine Brandes, soprano, Chamber Music Society of Lincoln Center, Wharton Center for the Performing Arts, East Lansing, Michigan.

Movements:
I. Last Poem by Robert Desnos, translated by X.J. Kennedy
II. The Wings by Denise Levertov
III. Safe in Their Alabaster Chambers by Emily Dickinson
IV. Wild Nights—Wild Nights! by Emily Dickinson

Recordings
Reviews


From a Book of Early Prayers for Chamber Choir (2004) -- 7'
SATB Chorus
Premiere Information: April 30th, 2004. Chamber Choir of College of Saint Benedict & Saint John’s University, conducted by Axel Theimer, The Great Hall, St. John’s University, Collegeville (MN).
Additional Information: Published: #312-41842


Recordings


Wick for Flute, Clarinet, Violin, Cello, Piano and Percussion


Bridge Records 9345: Music of Melinda Wagner
New York New Music Ensemble (Jayn Rosenfeld, flute; Jean Kopperud, clarinet; Linda Quan, violin.; Chris Finckel, cello; Stephen Gosling, piano; Daniel Druckman, percussion; Jeffrey Milarsky, conductor.



Four Settings for Soprano and Ensemble


Bridge Records 9345: Music of Melinda Wagner
Christine Brandes, soprano; Laura Gilbert, flute; Alan Kay, clarinet; Curtis Macomber, violin; Richard O'Neill, viola; Fred Sherry, cello; John Feeney, bass; Stephen Gosling, piano; Karla Lemon, conductor.



Concerto for Trombone and Orchestra


Bridge Records 9345: Music of Melinda Wagner
Joseph Alessi, trombone; New York Philharmonic Orchestra, Lorin Maazel, conductor



Sextet for Flute, Clarinet, Violin, Viola, Cello and Piano


Opus One Recordings No. 168: New American Works
Society for New Music



Arabesque for Solo Guitar


Bridge Records 9144: New Music with Guitar, Volume Six
David Starobin, Guitar



Brass Quintet No. 1


Summit Records 365: American Visions
American Brass Quintet



Romanze with Faux Variations


ALBANY RECORDS/ TROY838 ALBANY/TROY838: At the Still Point
Hirono Oka, violin, Ohad Bar-David, cello, Susan Nowicki, piano



Concerto for Flute, Strings and Percussion in Three Movements


Bridge Records No. 9098:
Paul Lustig Dunkel, flute, Westchester Philharmonic, Mark Mandarano, conductor



Reviews


Wick for Flute, Clarinet, Violin, Cello, Piano and Percussion

"Melinda Wagner’s Wick has sparkling upward and downward rushes, though its best music was in its slow middle section with beautifully judged (and beautifully played) combinations of timbres."

-Paul Griffiths, New York Times

"…a marvel of invention."

-Peter J. Rabinowitz, Fanfare

"...vigorous, toccata-like outer spans framing a meditative and lyrical central episode.

It is a superb piece."

-Guy Rickards, Tempo


Extremity of Sky Concerto for Piano and Orchestra

"I found the piece absorbing and exhilarating when I first heard it in 2003 and I am glad to report the music still packs a considerable wallop."

-John von Rhein, Chicago Tribune

"With his keen intelligence, stunning virtuosity and ear for intricate nuance, [Emanuel Ax] was just the man to explore every corner of Wagner's delicately haunted emotional landscape… Anyone who commissions a new work hopes it will have staying power beyond a first performance… it is a pleasure that Wagner's beautifully crafted "Extremity of Sky" is such a memorable work. … There is an intriguing wariness to Wagner's colorful score, a sense of things not being entirely what they seem… As the music shifted about us, it seemed to float within tantalizing reach, only to melt away. Encased in glittering percussion, the final, crashing piano chord hit the ear with the violence and disturbing delicacy of shattering glass. 'Highly recommended'"

-Wynne Delacoma, Chicago Sun-Times

"It is an absorbing, exhilarating piece, packed with difficulties yet wondrously clear to the ear and mind… angular melodies and motor-rhythms that fold seamlessly into luminously transparent textures… punchy feints of figuration… a hauntingly beautiful slow movement… The finale recollects earlier materials, now wittily transformed… The concerto all but explodes with bold, confident gestures and richly expressive piano writing ranging from rhapsodic to percussive. Wagner makes canny use of the seismic energy and vast coloristic palette of the 21st Century orchestra… This concert is worth catching for "Extremity of Sky" all by itself."

-John von Rhein, Chicago Tribune

"Far and away the best music of the night came with Melinda Wagner's "Extremity of Sky," a concerto for piano and orchestra that melds high modernism with prismatic color and romantic fancy… Imagine Elliott Carter and Olivier Messiaen teaming up to write a concerto, add a certain lithe sense of mystery that is Wagner's own and you'll have some idea of "Extremity of Sky.""

-Tim Page, Washington Post

"… a ferocious, kaleidoscopic, confounding, richly hued concerto scored for a dazzling 21st-century orchestra and featuring a bear of a piano part - the latter negotiated with consummate skill by Emanuel Ax."

-Jayson Greene, American Symphony Orchestra League


Four Settings for Soprano and Ensemble

"…she gets a tremendous range of color from this small ensemble…

…miraculous textural interplay…"

-Peter J. Rabinowitz, Fanfare


Concerto for Trombone and Orchestra

"…superbly played and caught in excellent sound."

-Guy Rickards, Tempo

"…the work, precise but never precious, does share something of the Mahlerian ethos – in its wide contrasts, in its unapologetically bold gestures and its willingness to push to the limits…

The music can be ferociously complex in its textures, its rhythms, and its harmonies – but even at its most intricate, it never sounds abstract or cerebral, keeping you in its emotional grip from first note to last.

…gorgeously orchestrated…

…lyrical genious."

-Peter J. Rabinowitz, Fanfare

"…shows she can write a blockbuster.

Spectacular sounds abound, and Alessi’s cadenza is fantasic."

-Barry Kilpatrick, American Record Guide

"In her music she paints a beautiful, colorful, and highly varied orchestral palette, at times backing the soloist and at other times opposing him.

With this excellent and challenging work, Melinda Wagner has given us a wonderful piece sure to become essential repertoire for the trombone soloist: a first-rate addition to any trombonist’s CD library."

-Philip Brink, International Trombone Association Journal

"Wagner creates a marvelous soundscape set in motion by a singular, repeated pitch that will play many roles before journey’s end."

-S. James Wegg, www.jamesweggreview.org

"…a fine trombone concerto…vital and fresh…It is thickly sown with interesting sounds — not sound effects, but a range of timbres and textures…woven into the fabric of the music. …Ms. Wagner writes strikingly well for orchestra; this piece used the whole spectrum of colors available to her without ever becoming dense or cloying… This smart, complex score retained an organic quality throughout, a kind of clear emotion running through its rich variety…"

-Anne Midgette, New York Times

"[The trombone] is an instrument of many possibilities, and Ms. Wagner explores them. [Her] music is not run-of-the-mill: it is interesting and attention-keeping. And she does an especially fine job of knitting the solo instrument and the orchestra together. I should say, too, that the first movement contains a wonderful cadenza, which has to be a kick to play."

-Jay Nordlinger, New York Sun

"A substantial and well-crafted piece… Ms. Wagner enables the trombone to shine…her works provde sufficient color and thematic unity to draw listeners in."

-Barbara Jepson, Wall Street Journal

"The concerto seethes and throbs, with the composer exulting in the power available in a large ensemble … powerful orchestral writing with big-boned climaxes…"

-Bruce Hodges, musicweb-international


Pan Journal Quintet for Harp and Strings

"It progresses in episodes and varies tempo, meter and texture, but the ideas are recognizably tossed about…

…[a work] by a top professional who knows how to keep the ears and brains of her listeners engaged."

-Vance R. Koven, Boston Music Intelligencer


Little Moonhead

"…an impressionist palette of seductive moods and colors…

Wagner is an eloquent, poetic voice in contemporary music."

-Jack Sullivan, American Record Guide

"…expertly constructed with vivid orchestration, and virtuoso solo writing…"

-Victor Carr, Jr., Classics Today.com

"The work shimmered with a liquid translucence and a mysterious, nocturnal beauty. A celesta added an ethereal charm."

-Steve Siegel, The Morning Call.com

"Inspired by the meaning of the German word “Bach”, Wagner’s Little Moonhead: Three Tributaries emphasized the free-flowing of a stream, reproducing the three tributaries in the traditional fast-slow-fast pattern. The middle movement, “Moon Ache”, had a particularly beautiful, ethereal feel to it while the last one, “Fiddlehead”, evoked the edible frond of an unfurled fern plant, looking just like the scroll of a violin, with plenty of whimsical flair."

-ClassicalMusicRocks.net

"…a tour de force…

…bracingly lucid…"

-Alex Ross, The New Yorker


Sextet for Flute, Clarinet, Violin, Viola, Cello and Piano

"…an excellent, well-conceived work. The instruments are all show off to good effect, and the composer has a nice sense of line."

-American Record Guide


Wing and Prayer for Clarinet, Cello, Percussion and Piano

"…pleasantly dissonant… Repetition makes it easy for the ear to make sense of the rough-hewn melodies; atmosphere accounts for a lot of the charm."

-Peter Dobrin, Philadelphia Inquirer

"The title of [Wagner’s] work, Wing and Prayer, is unassuming, but the music is anything but. The ensemble is employed with great economy and sound imagination… I look forward to hearing it in the future."

-David Patrick Stearns, Philadelphia Inquirer

"attractive and intriguing… an abstract but highly charged conversation among instruments."

-Daniel Cariaga, Los Angeles Times

"... delicately exuberant, finely structured exploration of sound textures…"

-Joseph McLellan, Washington Post

"captivating… organic, bracing…"

-Anthony Tommasini, New York Times


Concerto for Flute, Strings and Percussion in Three Movements

"It is a very powerful and descriptive work. There are also moments of exceptional beauty and wonderful atmosphere. Please extend my congratulations to Ms. Wagner for her wonderful composition and contribution to the flute literature."

-Jeanne Baxtresser

"The composer works within a palette of highly charged sonorities and glinting instrumental colors that compel your attention as much for their own sake as their unpredictable evolution. You are never quite sure where her music is going to take you, which is a large part of its bracing appeal… If I were a flutist, I would rejoice in discovering this attractive, beautifully made addition to the slim repertory of late-century American flute concertos."

-John von Rhein, Chicago Tribune

"Her concerto suggests what the painter Henri Rousseau might have created had he written music — the bright, deep colors; the sense of fantasy that is both explicit and somewhat mysterious… There is a rich, seductive lushness in the sheer sound of Wagner's concerto… At the same time, the work is charged with a coiled tension that keeps a listener's mind alert; we are always interested in what is coming next."

-Tim Page, Washington Post

"Wagner clearly thought carefully about problems of balance and blend, and in choosing an orchestra of strings and percussion, with a profusion of keyboards, mallets, and bells, she has created a magical framework in which to highlight the solo instrument. The sheer sound of this piece is utterly beguiling."

-ClassicsToday.com

"…gives the flute plenty or room to maneuver, but it also succeeds as a display piece for the orchestra (especially the percussion) which is called upon to produce a galaxy of shimmering sounds…"

-Classical Net

"…an inventive, three movement work that amounts to one of the great 20th century concertos…The outer two movements brim with vivacity… softened by the sheer beauty of the dreamy slow movement…"

-Heuwell Tircuit, San Francisco Classical Voice


Falling Angels a Poem For Orchestra

"…from it’s shimmering strings and gentle cello solo to its sound clusters, in which orchestral colors seem to be coming together and then breaking apart… This writer, who heard the first performance, enjoyed it even more this time."

-Joseph Cunniff, Northwest Leader

"The 15-minute work contained outbursts of heaven-storming clamor, and the crash and boom of the final bars brought to mind hapless angels hurtling earthward. But massed violins repeated spun out thick strands of mellow, sweetly focused music. They anchored us to a reassuring heaven, providing an unbroken link that would guide us through the music."

-Wynne Delacoma, Chicago Sun-Times




Page last updated January 23, 2013