Scena della Opera (1997) for piano trio
Premier performance in Fayetteville, AR 2/99 by the Boston Mountain Chamber
Players: Jeongwon Ham, piano, Rico McNeela, violin, and Stephen Gates, cello.
Additional performance 3/99 by the same group.
Echo Fantasy (1989) for violin, cello and piano, (revised 2018)
Commissioned by Steve and Betsy Highland. Performances: 4/89 in Superior, WI
by Steve Highland, Betsy Highland and Robert Mueller; 3/90 in Lawton, OK (as
part of the regional meeting of the College Music Society); 3/92 in Ft. Worth, TX
(as part of the 1992 Region VI convention of the Society of Composers, Inc.); and
11/92 in Fayetteville, AR by the Ozark Chamber Players; 6/12 by the Interlochen
Ensemble.
ROBERT K. MUELLER
COMPOSER
SOLO INSTRUMENT with PIANO
Her Voice
for oboe d'amore and piano (2019)
Premiered June 2019.
Adagio
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.
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.
Mantra
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 but that then subsides into an altered version of the opening mantra - a return to contentment with just a tinge of regret.