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Her Voice

for oboe d'amore and piano (2019)

Imagine the voice of a young mother telling her infant child that everything is going to be all right, and the "Mother is here, you can go to sleep now." But the world is a confusing place and the child takes some convincing before finally drifting off to sleep. There may even be anxious moments where peace and quiet seem a world away, but the soothing voice of the mother keeps returning to comfort the child in a way that no other voice can. Perhaps many of us now feel the same confusion about the storms of life and we think of our own mothers and long to hear "Her Voice." Premiered June 2019. 


for violin and piano (2018)

Premiered 2018.

Notes from the Underground

for euphonium and piano (2011)

Commissioned by Ben Pierce. Premiered 2/20/11 Pittsburg State U. Performed 3/3/11 U. of Arkansas; 3/12/11 Baylor U.; 3/29/11 Oakland U.; 3/30/11 U. of Michigan; 3/31/11 Michigan State U.; 9/14/11 U. of Kansas; 10/8/11 Illinois State U.; 10/28/11 Texas Tech U. 09/15 by Gretchen Renshaw, University of Arkansas. Published by Potenza Music. Recorded by Ben Pierce for his CD “Notes from the Underground,” CD Baby 884501820110.


for flute and piano (2006)

Commissioned by Jill Heyboer. Premiered 2006 in Springfield, MO.



for oboe and piano (1999)

Premiered by Theresa Delaplain and Robert Mueller, 1999. Mantra employs a repeating four-note rising figure that permeates the entire piece. Thus, the 'mantra' in this case is a primal sound that serves as a building block to all that follows, melodically and harmonically. Spatial notation is utilized throughout, with some improvisatory passages included. The final result should be a peaceful stasis that evolves gradually into a sequence of emotional outbursts, that then subsides into an altered version of the opening mantra - a return to contentment with just a tinge of regret.

Die Lebendigen und Die Todten

for oboe and piano (1982)

Composed in November of 1983 and premiered by oboist Theresa Delaplain on December 6, 1983. The title is taken from the German translation of the Latin Credo which reads "...Et iterum venturus est cum gloria judicare vivos et mortuos." Therefore, the two movements reflect the interaction and coexistence of life and death, rather than the separation of the two. The opening motive expressed by the oboe is developed throughout both movements and serves as the unifying force of the entire work.

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