Little March for Small Band was composed for the 1962 Fourth of July celebration at the Yale Summer School of Music and Art in Norfolk, Connecticut. A few wind players prepared a "band concert" suitable for the occasion. A visiting musician, Les Thimmig, later of the University of Wisconsin, volunteered to play bass clarinet. The piece is dedicated to him. Scored for 2 flutes (2nd / piccolo), 2 oboes, 2 B-flat clarinets, 2 bassoons, 2 horns in F, Bf-lat trumpet, trombone and double bass.
A solo for unaccompanied horn in F. Dedicated to Mary Louise MacLean Wood who was my helper when she was an undergraduate student at the University of Toronto. The piece is rhythmically demanding and has a wide range from written G3 to G5.
This is the pre-printed, paper version of the work. A PDF digital download is also available.
A short work was composed for a group of high-school aged double reed players to rehearse with limited time and perform at a woodwind clinic. Rhythmically the parts use only quarter and eighth notes in cut time, but with a liberal scattering of rests within measures. The ranges are moderate for 2 oboes and 2 bassoons. This music is available for downloading in the PDF format.
These fanfares were composed at different times for different ensembles. Fanfares 1 and 2 were written for OBOHIO to begin concerts by that double reed quartet. We played them offstage before entering. Tavern Fanfare was written for a wind octet to play a concert at, you guessed it, a tavern! The Seven Eight Fanfare was composed in 1998 for no particular ensemble or event.
This is a revised and re-notated version of this work. Cues have been added and the keys of the first three movements have been changed.
An aural scrapbook of music heard during the 19th century: 1. Washington’s March at the Battle of Trenton by James Hewitt (1770 - 1827), 2. Farewell, Thou Dear Country by G. F. Stanbury (1800 - 1845) 3. Waltz by F. A. Vogel, 4. Reel and Hornpipe (Buckley's Favorite Reel and Saratoga Hornpipe). For wind nonet. E-flat and B-flat contra bass clarinet parts are provided to substitute for contrabassoon or double bass.
Fragments for wind octet was composed beginning in 1992 and worked on sporadically until 2010. It uses a compositional technique as if themes placed on a bulletin board are moved around for each instrument. The motives recall the traditional figures played when harmonies – ensembles of pairs of woodwinds and horns - were in vogue: leaping clarinet arpeggios, bouncy bassoon bass lines, sprightly rhythms and lyrical oboe melodies. The horns, however, play a corrupted version of ‘horn fifths’ throughout without sharing it.
A short, easy work for program variety.
Not the famous piece in D Minor! The Prelude is from 12 Little Preludes; the Fugue is from Miscellaneous Klavier Pieces. A good concert opener. The Prelude is Bach’s, the Fugue probably Kellner’s. Grade: Moderate.
Three movement duet for oboe and bassoon. I. Acrobats (2’45) II. Lion Tamer (1’45) III. Clowns (1’50). Dedicated to the memory of the oboist and oboe maker Alfred Laubin. Mr. Laubin, was a member of the first professional wind quintet I played in. I remember him as a very thin, quiet and dignified man. He is in no way personified by the music in the work!
Quotes from a review by Daniel Lipori in ‘The Double Reed’, Vol 33/3, p.111.
“. . . you can imagine the acrobats up in the air during their performance.”
“It sounds very cautious, as if the lion tamer does not want to upset the animal.”
Amusing settings of ‘Chopsticks’. English horn 1 can be played by oboe d’amore. For: 2Ob, 2EH, 3Bn, CBn.
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