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"Little Concerto #10 (the Duke)" (6.5 MB)
This is a story of a wealthy but naive duke. The evenly measured early piano line suggests confidence and rigid training. As the rest of his orchestral suite appears, the piano triplets suggest that his subjects see a young duke that is a bit spoiled, foppish and self-absorbed. His advisors decide to take him aside. A brief discordance and a slower tempo confirm the seriousness of the discussion. He takes a moment alone, his thoughts swirling like the triplets in the wind section. The french horns announce the epiphany. The strings announce his reappearance in court. He is a better man, triumphantly a better man, having turned his commitment towards those whom he serves. He has become, in deed as well as in title, a duke.
"Innocence" (4.3 MB)
This chamber piece is about a young girl's first performance. She is terrified as she sits at the shaky piano bench. She begins with a simple, light touch at the keyboard. The winds softly join in. Her fingers know the way independently from her mind. Still terrified, she slows the tempo. The strings, then the winds, play supporting lines. The support works. You can hear it in her bold piano chords. The melody suggests she might now be sad the piece is nearly over. The piano line quickens and she ends playfully, confidently. As she lifts her fingers gracefully from the keyboard, the auditorium is still. She is mortified by the silence. Suddenly there is thunderous applause. Innocently, she takes a bow.
"Reaching" (3.8 MB)
The simple introductory piano line parallels the simple preparations for our daily walk. We button our coats; gather our gloves and walking sticks by the front door. The winds and french horns sound our arrival outdoors. As always, we are astonished by what we see. Holding hands, we amble down the short stretch of asphalt to the familiar entrance to the nature trail. The piano triplets herald our arrival into the woods. The jury of massive trees that line the walkway seems to lean over our heads, treetops fluttering like the wind section, as if listening in on our conversation. We talk about the children, the happiest first. The discordant piano line confirms that we have turned our thoughts to the least happy. The romantic lines near the end confirm that all we can really do is love them. Like our simple walks, we cling to the simple hope that our children will have walks like ours.
"Little Concerto #9 (the Princess)" (5.2 MB)
The strings announce an energetic, even impertinent little princess. While the rhythms and melodies are fundamentally simple and harmonious, there are flare-ups, as one would expect from a spoiled little girl. One minute excited, one minute moody, the tempo changes affirm the complicated, highly mercurial personality of the piece. Underlying this inconstancy is innocence, personified by the occasional use of the winds and the erratic buy playful use of the piano. Sometimes highly charged, sometimes meditative; sometimes expected, sometimes unpredictable; sometimes aggressive, sometimes passive; every father with a daughter experiences what is in the Princess, the ending of which leaves no doubt who is in charge: the princess.
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"Left Unsaid" (5.6 MB)
The strings open with a question, a plea. There must be something I should have said. I ask but get no answer back. Silence is the cruelest form of rejection. I ask again, this time thru the oboe, then again with the strings. I bring all my sense of worth to the table. Still nothing. I change tactics, now joking, maneuvering, looking for a jester's foothold. The sand is sinking under my feet. One last time, I implore, exhausted, demoralized. I'm running out of options. With the strings at my back, I turn away to leave. As I do, I sense behind me that she is bursting to say something, to call me back. Still, no word. She lets go. She leaves it left unsaid.
"Little Concerto #8 (Feisty)" (7.1 MB)
The excited introductory piano line confirms this will be all about speed, accuracy, dexterity and surprise: the painful essence of what the music teacher insisted upon. He was never satisfied. And now it is time to perform. The young man looks into the audience and finds him, leaning forward in a chair in the back row of the concert hall, perched, no doubt, to uncover any mistakes. Always critical. Never satisfied. Yet the young man practiced every day, every night. And tonight, he performs. When finished, the student saw his teacher in the back row, the first to stand, the first to applaud. He was even jumping up and down with approval. The young man saw the pride in his master's eyes. He saw the smile on his face. And now he understood.
"Largo" (5.1 MB)
Largo opens with a classically romantic theme. Tender strokes of the bow patiently introduce the primary spokesperson. The first sounds from the piano are smooth, simple. They respectfully imitate the strings. Soon, however, the piano steps away from the comfortable musical turf established by the string section and heads onto its own musical path. The piano goads the strings, challenging their resolve. They answer confidently, seriously. The piano challenges again, this time with frustrated rapid keystrokes. Again, the strings respond, emphatically, convincingly. The youthful piano yields, ending the composition in harmony and complete accord.
"Appassionato" (5.1 MB)
Appassionato is a story about a decision about love. As the piece awakens, the oboes and flutes seem innocent and coquettish. They're ready. As the orchestral participation grows, one has the sense of an entire field of rich colors is growing before our very ears. Enter the piano. Simple, elegant and romantic. Softly supported by the strings, the piano issues an invitation to the winds. They respond cautiously, curious to see what this charming piano has in mind. Various sections of the orchestra question each other, back and forth with triplets. Who is this piano? The strings announce that a love relationship may be possible. The piano replies tenderly. With eighth notes, the strings lift the piece into a wispy entanglement with the piano, counseling it, tempting it. The winds, using triplets, are not so sure. The piano makes a passionate plea; the strings are supportive. The piano and the winds have a conversation. They finally dance together. In the end, love wins.
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"Little Concerto #5" (6.1 MB)
The Little Concerto #5 is about the search for a lost love. The heavy piano line, followed by the flutes and pizzicato strings, underscore the importance of the search. The strings and winds point the story towards love and romance. The easy flowing piano triplets add a sense of longing, so deep that the piano stumbles as it searches for its lost love. Midway, the oboe sounds the sad prophesy that love is gone. The piano rejects that view and surprises with a sprightly dance-like melody reminiscent of the good times that were shared by the lovers. Reality returns, brought on by the bassoons and the brass. The piano returns to the main theme of longing and brooding. The end accelerates into twisting and turning as the frustrations of loss reach their limit.
"Largo II" (5 MB)
A mature and regal piano line introduces the theme of the meaning of a long-standing love. The winds and strings waste no time in reminding us that there is also sadness, turmoil and loss. The horns bring us back, back to love's dignity and noble comfort. The strings interrupt to point out that love has its cost. After much orchestral discussion, the piano reintroduces the central theme: despite the agony, the conflict and the occasional sense of loneliness, love is the core of existence. It lifts us, as does the final bars of Largo II, to that higher plane, that place of fulfillment and peace.
"Nocturne" (4.2 MB)
A short pensive chamber piece, Nocturne is the musical story of a separation of long ago. The string section sets the stage. It is dark and misty outside a country inn. A measured piano line announces the hesitant exit of a gentleman and his lady, whom he puts into a waiting carriage. The piano, strings and the flute barter romantically back and forth. Should she stay? Should she go? The discussion goes on. Finally the winds announce the difficult agreement. The carriage door is closed. Hearts are broken. The sounds of the horses recede into the night. Separately it occurs to each of them: they made the wrong decision.
"Uncommon Grace" (6.5 MB)
A difficult decision lies ahead. The plucking of the strings tells us time is of the essence. The cautious line from the winds, later the strings, reminds us of the possible loss we face should we fail, the pain that comes from defeat. The various sections of the orchestra weigh in. There is so much at risk. The bold strokes of the piano strike like the bells in a church tower. The pizzicato in the stings ticks away the seconds. It is time for a decision. The piano and strings conclude: we cannot decide.
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