Fantasia C# Minor

Fantasia in C# Minor challenges the expressional control, insight and ability of any performer. Notable is the effect of the moving fifths in the bass that have to be treated with care. There are few expression and dynamics markings as I want the performer to have a great degree of freedom. This work is challenging and suitable for upper level pianists.

Written in 2000, this work contained a section that didn’t really fit and made it noncohesive. That section has now been removed and the surrounding measures altered to make it flow more smoothly.

Waltz in G-Minor (Tiina)

Written between September 3 and 19 2003, this waltz was inspired by as very special lady from Estonia: Tiina Oselin, painter, tour guide and probably many others things. The main theme began during a trip we took that included camping in the slopes of volcano Hekla, swimming in Iceland’s oldest pool that was completely flooded with seaweed and other growth (the sign actually said ‘Swim here at own risk!’), rock climbing into a cave once occupied by a legendary outlaw, a daylong hike at Laugarvatn after crossing endless glacial rivers (which she waded barefoot across as I was terrified of driving into the water) and many other adventurous escapades.

The theme begins soft and sweet before gaining power toward the middle. The finale snaps the theme together into a Chopin-style waltz. It has taken seven years to clean the work up (there were a few spots that bothered me) but this ought to be the final version.

Silence

Written April 11 1987, Silence is a very spacious work intended to trance an audience. The opening sections are of hymn-like character with the woodwinds entering into a monologue against a wide backdrop.

The middle section introduces a variety of bells (glockenspiel, celesta, vibraphone and harp) that create a vibrant backdrop against the initial theme which goes through a series of variations. This work carries with it optimism and very memorable passages.

Rivers

Written March 1 1987, Rivers is a Debussy-influenced work with more atmosphere than actual melodic passages. Just like a river, it flows smoothly forward, at times spreading out over shallow ground, at other narrowing over the bottomless deep.

Flute and clarinet pairs trade parts and are ideally located left and right on the stage (flute 1 and clarinet 1 on one side; flute 2 and clarinet 2 on the other). The conductor can place these at his or her discretion (even locate them in the audience for spectacular effect). Rivers is well suited for young musicians.

Ripples

Written October 31 – November 1 1987, Ripples has been re-orchestrated twice. First time this work appeared to be completed, but then I began noticing slight bugs in the overall chord spacings, melodic placement between voices, and cluttered registers. Intending to make some minor fixes, I ended up completely re-orchestrating the entire work. The result is a far more spacious piece with better dynamics and melodic alterations between the voices. The bassoon has been given a more prominent position and the harp arpeggios extended upward by adding four more notes.

This work is not in any particular key. Like a river, it flows forward constantly changing. These endless key changes are not apparent to the ear, however, as one chord logically follows the one preceding it.

Passing

Written somewhere around April 1987 (it is actually part of a symphonic work called Thusal), Passing is one of the more transcendental works in this series. It begins with echoing clarinets and flutes, then moves into a nervous passage that threatens to fall apart at any time but does not; instead, it bounces right back into the echoing woodwinds for a repeat until it drops into the realm of mystery.

The initial scene was that of the fatal illness of a character in a ballet scene. Passing connects Emperor and Burial as the end clearly indicates. Burial does not, however, have to follow directly afterward (as is the case with Grave) although it may be advisable.

Grave

Written sometime in 2000 (probably during fall), Grave is the bridge that connects Nahema and Waltz in A-Minor (Manique). This is the only piece that cannot really be placed anywhere except before the waltz as the final bar reveals. This work begins calm and reflective, then gives way to a certain degree – even controlled – anger before returning to its former state. It is very melodic and spacious.

Mourning

Written August 1 – 31 2000, Mourning is the bridge that connects Burial and Nahema (the end of Mourning actually foreshadows the basses of Nahema). This work is very calm, yet foreboding or ominous. The dynamics are soft; harmonic content alternates between simple triads to hybrids. Simple in nature, it puts minimal challenge on performers which renders it suitable for music schools.

Burial

Written October 15 1997, Burial was initially written to accompany a funeral procession for a student ballet work (Boston). It begins faint and then gradually increases in power until it explodes toward the end. The piece itself puts little demand on players which makes this piece fit music schools and as such is a good opening piece. Burial is dedicated to the memory and legacy of His Majesty King Hussein bin Talal of Jordan.

Nahema

Written July 15 1999 – March 11 2000, Nahema places great demand on both conductor and performers. It begins with a faint horn and contrabass clarinet with decorations provided by other woodwinds and brass at tempo 80, then kick into tempo 120 at bar 16 signaling the beginning of a section that reminds me more of a massive machine than anything else.

The beat continues in 6/4, but at bar 26 the second violins begin a 16 16th-note ostinato pattern. This new pulse is enforced by the first violins beginning their 8 8th-note ostinato toward the end of bar 27 and once the pizzicati parts flow into the whole, the meter appears to 4/4 although it hasn’t changed.

There are 11 string parts, half playing arco and the other pizzicato with the first violin pizzicato section divided. The 6/4 pulse is maintained by the violas (arco), violoncellos (arco) and contrabasses (arco) while it is thrown off a bit by violoncellos (pizzicato) and contrabasses (pizzicato) doing a syncopated rhythm pattern over it. Both violin sections (arco) then force the 4/4 over the foundation which is enforced by the two violin sections (pizzicato) and violas (pizzicato). Explaining this piece is hard, so checking the score itself might be a good idea (click the musical note bottom).

The contrabasses must be tuned down to D2 and the upper half of the first violins responsible for the pizzicati part up to B6 (H6) if that’s even possible, not sure about that. Nahema is a short piece (around 2:30 minutes), but getting the orchestra synced in order to perform it may take a while depending on the skill level.