Clarino

"Clarino" was inspired by, and much of the thematic material derived from, a previous work ?"Miniatures for Clarinet" (solo). This, in part, explains my propensity for writing virtuoso passages for clarinets. The work at times verges on being a concerto for the clarinet section. ?Clarino? refers to the upper most range of the clarinet, and it is in this register that the theme is most often presented. The term also refers to the school of baroque trumpet playing in which the extreme upper partials of the harmonic series were produced on the natural (valveless) trumpets of the day. There is a great deal of high trumpet and horn writing in "Clarino". As with my previous works, tonal elements predominate. Two tonal ?spheres? exist in the work. A ?D? tonality pervades most of the piece (note the D pedal at the beginning). But toward the middle there is a shift to E-flat that prepares the lyrical contrasting theme (oboe solo). This E-flat section serves a temporary relief from the incessant agitato nature of the rest of the piece?Because of the harmonic language and rhythmic techniques I employ, I must admit to some influence from Stravinsky and perhaps Debussy as well. "Clarino" was my first work for full symphony orchestra. It is in stark contrast to much of my previous chamber music, which is often rather delicate and subdued. "Clarino" is an aggressive work, the result of some pent-up energy that needed to be released. It is intended to create a kind of resonance that remains with the listener even after the piece is over.