Chamber Music

Sonata for Viola and Piano was composed between January and April, 1992, for my good friend John Pomeroy. Completed just before my 22nd birthday, it is my first extended work and owes much to the great classical tradition of chamber music, in which I was immersing myself at the time. The form and style of the piece reflect these influences, though they are played with in subtle ways throughout.

The first movement, a broad sonata-allegro, begins with the dramatic first theme in the piano. The viola answers with an intimate, ornamented version of the theme, which is repeated by the piano against a singing viola counterpoint. This transition leads to the second theme, heard in the piano, bringing the exposition to a close. After a repetition of the exposition, the development begins with a tranquil cadential theme. This theme is then taken up in counterpoint between the viola and piano, after which the ornamented version of the first theme is developed in stormy counterpoint. The second theme also makes an appearance, building to a climax. A sudden calm introduces a retransition based on the first theme. The recapitulation begins as a viola cadenza on the first theme, balancing the initial piano statement. The transition returns, this time with the piano leading and viola answering. The second theme now appears triumphantly in the viola, and the movement ends with the cadential theme stated quietly against viola harmonics.

The second movement begins with a dark lyrical theme in the viola over a rolling piano accompaniment. The piano answers, then the two join together, building to a climax and subsiding. A new theme emerges in the viola, intertwining with a piano countermelody. The piano answers with a highly ornamented version of the melody, against which the viola intones a new countermelody. This leads to a third theme in the viola that is based on the first theme. The piano again answers with an ornamented version, leading to a cadence. A shortened restatement follows, with the two instruments presenting the themes together instead of alternately.

The third movement follows attacca with a jaunty, dance-like theme. A contrasting section featuring a lyrical theme based on the second theme from the second movement follows. After a brief development, the first theme returns, though in a more somber guise. A second contrasting section features a third theme, based on the first theme of the second movement. As this theme winds down, a hint of the first movement is heard, leading to the return of the jaunty theme, now in a rhythmic fugato section. A brilliant coda brings the movement and the sonata to a close.

Paraphrase was composed in January 1996. It was first performed on July 23, 1997, by the Onyx String Quartet. As the title suggests, Paraphrase is a reworking of my earlier Two Pieces for Chamber Ensemble, which is scored for flute, clarinet, violin, violoncello, piano, and percussion. The translation between these two media was something that interested me greatly, the challenge being to create something that was completely idiomatic for the strings even though it was not originally conceived for them.

The piece is cast in two movements, the first of which is a slow passacaglia (ie. a piece based on a repeated melody or bass line) framed by an explosive introduction and conclusion. Over the course of the passacaglia, the entrances of the theme speed up and overlap, becoming a series of mensuration canons. The second movement releases the explosive energy of the first movement, spinning out as a lively and virtuosic romp.

Elegy was composed in October 1995 as a companion piece to Vortex. It was first performed on October 31, 1995, by the University of Texas New Music Ensemble with the composer conducting. Elegy is a slow passacaglia (i.e. a piece based on a repeated melody) framed by an atmospheric introduction and conclusion. Over the course of the passacaglia, the entrances of the theme speed up and overlap, becoming a series of mensuration canons. This kind of intricate counterpoint has been one of my compositional obsessions through time.

Vortex was composed in May 1995, and was first performed by the Aspen Contemporary Ensemble, conducted by William Intriligator. It is a short, energetic piece that begins with a burst of energy. A mysterious passage ensues, punctuated by occasional outbursts, and builds gradually until the opening intensity is regained. At that point, the opening outburst is juxtaposed with two contrasting ideas–a disjunct triplet motive and a restless, hovering motive–in rapid succession. The opening outburst returns to close off the section, leading into a dreamlike passage that features the strings in triple-octaves, accompanied by the marimba and piano. As this intensifies, the cello takes the lead in its lowest octave, ushering in a return of the opening outburst. This subsides into the triplet idea, which becomes an ostinato in the piano. From here the intensity builds to the end of the piece, with all of the main ideas returning in varied form. The concluding peroration is the final embodiment of the opening outburst.