LIST OF WORKS
SUITE NO. 2 (2012) chamber orchestra
SERENADE FOR CLARINET AND WINDS (2015) solo clarinet, double winds, 2 horns
THREE BAGATELLES FOR TWO TRUMPETS AND PIANO (2011)
DIVERTISSEMENT (2009) trumpet and harp
SUITE BRILLIANTE (2008) arrangement of the Flute Concerto for flute and piano
FANTASIA on TWO NEWFOUNDLAND SONGS (2004) solo horn and orchestra
TANGO (2004) brass quintet and orchestra
TROIS HOMMAGES (2003) brass quintet
HOLLYWOOD NOCTURNE (2002) narrator, trumpet and orchestra
SUITE FOR STRINGS
The first movement features its driving, percussive side, inspired in equal parts by Bela Bartok and George Martin.
The second movement, a moderate waltz, explores the lyrical, delicate side of the string orchestra, as well as its playful, whimsical side: Satie meets the Wizard of Oz.
The third and final movement is a slightly demented scherzo with a nod to Bernard Herrmann and explores the dancing, sprightly, exotic side of the string section. Intentionally cinematic in tone, the piece ends with a cartwheeling unison line scored for the entire ensemble.
The title is an homage to one of my favourite composers, Aaron Copland, and his work for trumpet, English horn and strings called Quiet City. One of the qualities I have always admired about Copland is his ability to combine the profound with the accessible; he was never afraid of writing something unabashedly beautiful, even though he was certainly capable of being as dissonant and aggressive as any other 20th century composer.With Silent Town, I have tried simply to do the former: write something beautiful for trumpet, the instrument I started my professional career with, and string orchestra, an ensemble that continues to bewitch me with endless possibilities of colour and expression.
SUITE FOR CLARINET AND STRING ORCHESTRA
The following three movements include a Satie-esque Pastorale and a sneaky Andante Misterioso and Hoedown. The piece ends with a whirlwind Vivace that was adapted for an episode of CBC's The Nature of Things about bees.
CONCERTINO FOR CELLO
The first movement begins, after a brief introduction, with a Bach-inspired arpeggiated passage for solo cello and then is joined by a piccolo trumpet (I was a professional trumpet player in a former life...) The general feeling is meant to be celebratory, joyous and youthful.
The second movement begins with a more somber, elegiac approach, a reflection on mortality and the possibility of loss, and then is followed by a spirited, Russian-influenced dance, a nod to Anita's father's Eastern European heritage.
In the third and final movement, after a short solo pizzicato section, the cello plays a sinuous, seductive tune that undergoes a number of variations, followed by a cadenza where the opening movement's theme is reiterated and then joined by the full orchestra for a big rousing finale.