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orchestra
A Thunderstorm
Symphony orchestra
5 minutes
2024
This symphonic poem is based on the work of the same name by Emily Dickinson. Expanding on a one-minute piano piece previously composed, I elaborated following the poem's narrative elements. The poem follows the physical manifestation of a growing thunderstorm complete with monster-like descriptions. I was inspired by this idea of a monster, and the act of battling a growing fear that looms large and seemingly unvanquishable. There comes a moment when all hope seems lost, this monster seems invincible and the problem will consume all, then suddenly the clouds lift, all is well, and a sense of peace and serenity materializes.
The piece opens with small fragments across the orchestra, nothing quite tangible, slowly developing into thematic material; representing a disembodied problem becoming a monster to be fought. Fighting begins as music is moved between instrument families and momentum is increased. The apex of the piece comes at the height of this energy when all forces are being used, and the monster theme is expressed in its fullest state. Finally, after a big orchestral tutti, there is a complete shift in mood to illustrate this moment of calm. Strings are scattered like the beginning, and percussion sets an inactive tone to close the work.
5 minutes
2024
This symphonic poem is based on the work of the same name by Emily Dickinson. Expanding on a one-minute piano piece previously composed, I elaborated following the poem's narrative elements. The poem follows the physical manifestation of a growing thunderstorm complete with monster-like descriptions. I was inspired by this idea of a monster, and the act of battling a growing fear that looms large and seemingly unvanquishable. There comes a moment when all hope seems lost, this monster seems invincible and the problem will consume all, then suddenly the clouds lift, all is well, and a sense of peace and serenity materializes.
The piece opens with small fragments across the orchestra, nothing quite tangible, slowly developing into thematic material; representing a disembodied problem becoming a monster to be fought. Fighting begins as music is moved between instrument families and momentum is increased. The apex of the piece comes at the height of this energy when all forces are being used, and the monster theme is expressed in its fullest state. Finally, after a big orchestral tutti, there is a complete shift in mood to illustrate this moment of calm. Strings are scattered like the beginning, and percussion sets an inactive tone to close the work.
Scenes From a Castle
Chamber orchestra
10 minutes
2021
I was reading Hamlet while I was writing this piece, and I liked the thought of an entire narrative taking place within a single setting, in Hamlet's case; a castle. Every musical idea in the piece grew out of the five note motive representing the castle introduced by the strings in the opening. This fragment arose into many sections of the piece, most notably as a full melody representing the daily happenings within the castle, both upstairs and downstairs.
The second motive, introduced by a clarinet solo, represents the conflict and intrigue within the castle. Listen for the hero's motive in the middle of the piece found in a trumpet solo accompanied by undulating eighth notes in the woodwinds and inner strings. After our hero has their moment, the scene shifts to the exterior of the castle where, for a brief minute, nature can take centre stage in the form of a birdsong duet featuring the clarinet and oboe. After this reprieve, the scene shifts back to the events within the castle walls, where the original melody returns building towards the conclusion of the piece; a final statement of the castle theme in the form of a grande orchestral tutti.
10 minutes
2021
I was reading Hamlet while I was writing this piece, and I liked the thought of an entire narrative taking place within a single setting, in Hamlet's case; a castle. Every musical idea in the piece grew out of the five note motive representing the castle introduced by the strings in the opening. This fragment arose into many sections of the piece, most notably as a full melody representing the daily happenings within the castle, both upstairs and downstairs.
The second motive, introduced by a clarinet solo, represents the conflict and intrigue within the castle. Listen for the hero's motive in the middle of the piece found in a trumpet solo accompanied by undulating eighth notes in the woodwinds and inner strings. After our hero has their moment, the scene shifts to the exterior of the castle where, for a brief minute, nature can take centre stage in the form of a birdsong duet featuring the clarinet and oboe. After this reprieve, the scene shifts back to the events within the castle walls, where the original melody returns building towards the conclusion of the piece; a final statement of the castle theme in the form of a grande orchestral tutti.
Fugitive Visions
Symphony orchestra
2.5 minutes
2023
This is an orchestration of two movements from Sergei Prokofiev’s Visions Fugitives. Read by the McGill Symphony Orchestra in April 2024, under the direction of Alexis Hauser.
2.5 minutes
2023
This is an orchestration of two movements from Sergei Prokofiev’s Visions Fugitives. Read by the McGill Symphony Orchestra in April 2024, under the direction of Alexis Hauser.
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