Linda Dusman

for C flute, A clarinet, violin, cello, piano, large tam-tam, medium triangle (very resonant), crotales, Almglocken (B5 only), and 5-octave marimba

ca. 11'00"

This piece is dedicated to the Ruckus Ensemble and to Rahilia Hasanova, an extraordinary composer and friend. The recording heard when viewing the score was from an October 2024 LiveWire Festival performance by the Ruckus Ensemble at the University of Maryland, Baltimore County. The performers were Lisa Cella (flute), Natalie Groom (clarinet), Airi Yoshioka (violin), Gita Ladd (cello), Teodora Adzharova (piano), and Dustin Donahue (percussion).

Click here to view the score and listen to the recording.

Linda Dusman

for orchestra

ca. 11'15"

What Remains constitutes the second piece in a series of works embodying the concept of pis aller—“paths of last resort,” for me a fitting metaphor for our time of great immigrations, political extremes, and sudden local disruptive violence. What Remains explores specifically the human trait of obsession that often drives individuals to this final recourse, and that path’s potential for leading toward both great good and great evil.

What remains at its end? The air we breathe, the lives that air enables, our shared potential for good, and the possibility of an arrival at that end, rather than its opposite. What Remains stands as a reminder of humanity’s collective responsibility to walk a path away from obsessive violence and ugliness toward intentional peace and beauty.

A recording was made by the Hopkins Symphony Orchestra, conducted by Jed Gaylin. 

Click here to view the score and listen to the recording.

Linda Dusman

for wind ensemble

ca. 7'15"

Solstice was commissioned by the Hanover, Pennsylvania Southwestern High School Symphonic Band, Carey Crumling, director, in 1997. The title refers to my inspiration for the piece, which I found in the often turbulent weather changes that characterize the change from season to season. As a larger metaphor this reflects the emotional turbulence that characterizes the change from childhood to adulthood, which I expressed in the often bi-tonal language of the piece.

A recording of the piece was performed by New England Conservatory Wind Ensemble, with William Drury, Director.

Click here to view the score and listen to the recording.

Linda Dusman 

for flute, clarinet, violin, cello, double dass, harp, percussion, and piano

ca. 11'00"

What must our Lady Liberty be thinking? Staunchly guarding the NewYork harbor, sending a beacon of light still, but now a museum, what are her sonic memories of mothers singing to comfort their children? Mother of Exiles, your huddled masses are now at our southern borders, where there is a wall instead of a beacon of hope. How do we create a more perfect union, when we are faced so dramatically with the imperfections of our past and our present? What would that union sound like?

I want to express my appreciation to the cultures that created the lullabies quoted in this work: Syria, Nigeria, and the Andes region. My hope is that our shared concerns of caring for the young might bring these disparate voices together to forge a sustainable future. Any royalties resulting from performances of this work will be donated to Unicef, the United Nations agency for children.

The performance was recorded by the Inscape Chamber Orchestra, conducted by Richard Scerbo.

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Linda Dusman

for soprano, flute, cello, piano, percussion

ca. 7'30"

Elio: Visions of Light is a setting of fragments of poetry by the Greek lyric poet Sappho for soprano, flute, cello, piano, and percussion. It reflects my memories of the light in Greece during my travels there.

A recording of this piece was made by Ana Spasic, soprano, and members of the Conservatorio "G. Nicolini" chamber music program in Piacenza, Italy.

Click here to view the score and listen to the recording.