Anna Rubin

5 instrument version for flute (piccolo), clarinet in Bb (bass clarinet), violin, cello, and piano

6 instrument version for flute (piccolo), clarinet in Bb (bass clarinet), violin, cello, piano, and percussion (vibraphone)

ca. 10'30"

Dreaming Fire, tasting Rain was originally written while I was working on my Ph.D at Princeton University. The Nash Ensemble of London premiered the work at Princeton. The 6 instrument version includes percussion and is intended for performance by the Ruckus Ensemble at the University of Maryland Baltimore County. The images of fire and rain translated into a variety of musical textures – sometimes serene and sometimes jagged and thorny. In the opening, heterophonic or layered melodies surge and then subside. A middle section begins with the lonely sound of the piccolo against spiky cello pizzicati and then builds to a driving pulsed rhythm, intensified with percussion. The music then eases into a lyrical cello melody against a background of rolling piano chords and flute and violin countermelodies.

The 5 instrument version has been performed at Oberlin College Conservatory, the University of Maryland Baltimore County, and the Heidelberg College Festival of Women.

The 6 instrument version of the piece premieres in 2024 at the University of Maryland Baltimore County.

Click here to view the score and listen to a recording for 5 instruments.

Click here to view the score and listen to a recording for 6 instruments.

Click here to download all performance materials.

Anna Rubin

for alto saxophone and harp

ca. 8'44"

Silk and Steel was commissioned in 2010 by the duo Pictures on Silence, comprised of Jacqueline Pollauf, harp and Noah Getz, alto saxophone. The opening section is very romantic, featuring melismatic alto sax melodies over intricate harp accompaniment. A more whimsical rhythmic section follows where figures are tossed back and forth between the instruments. This leads into more dramatic material emphasizing extreme ranges between the instruments and a rocking low figure in the harp. Eventually the piece makes its way back to a reprise of the opening material. While exploiting a variety of textures between the two instruments, I explore various quasi-tonal harmonic structures and scales, sliding from suggestions of whole tone collections to Middle Eastern and atonal scales.

Silk and Steel premiered Jan. 19, 2010 at the American University in Washington, DC (Jaqueline Pollauf, harp and Noah Getz, alto sax). It was also performed on at Catholic University in Washington, DC (Nov. 12, 2010), Lilypad, Boston (Apr. 19, 2011), and University of Maryland, Baltimore County (Oct. 26, 2018).

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

 A version was composed for flute and piano in 2019, based on the original version written for alto saxophone and harp.

 Click here to view the score.

Silk and Steel for flute and harp (2022) evokes qualities of both the delicacy and power that the flute and harp can project. The piece is also a version of the original work for alto sax and harp.

Click here to view the score.

Click here to download all performance materials.

Anna Rubin

for flute and percussion

ca. 9'07"

hag riding was originally composed for the Umbilicus Quartet, a percussion quartet. It is based on two poems by Lucille Clifton, the late and highly honored poet, who spent part of her career in Maryland. Her fierce art is captured with precision in these works. The poem “hag riding” celebrates a woman’s joyous power. The second poem, “auction street,” evokes the horror of slave auctions, the auction block and “thousands of fathers and mothers led in a coffle to the block.” Complex polyrhythms are a feature of the work. I am grateful to Tom Goldstein for his encouragement and pleasurable hours spent exploring the extensive resources of Umbilicus.

Umbilicus Percussion Quartet premiered the original version of the piece at the University of Maryland Baltimore County (UMBC) Livewire Festival 4, 2013, and played it at The Parlor (Baltimore), also in 2013 and again in 2018 at the Livewire Festival 9 at UMBC.

Click here to view the score for percussion and flute.

Click here to view the score and listen to a recording that is for percussion only.

Click here to download all performance materials.

Anna Rubin

for C flute and alto flute

Consulting the Oracle was originally composed in 2013 and was the winning work at the 2013 Competition hosted by the Women Composers Conference of Hartford. It was premiered there by the Dahlia Duo, Mary Matthews and Melissa Wertheimer. The work entails movement and the added twist of the performers wearing ankle bells.

A variety of flute timbres and extended techniques are using in this lyrical and whimsical work. I always held in mind the image of two women performing an alchemy of sound and magic to divine the future and their delight in making music together. Various scales are used in the piece with strong pitch centers anchoring the melody.

The piece has been performed several times including at the Broomfield Auditorium, Broomfield, CO, (2016), at the Mid Atlantic Flute Convention, Reston, VA (2016), Dairy Center for the Performing Arts, Boulder (2016).

Click here to view the score.

Click here to see a video excerpt.

Anna Rubin

for concert wind ensemble

ca. 9'28"

Chiaroscuro was commissioned by Dr. Brian Kaufman, director of the University of Maryland, Baltimore County Wind Ensemble in 2016. The term 'chiaroscuro' is a term used in painting to refer to the dramatic treatment of light and shade. I exploit the many colors of wind, brass, percussion and piano to contrast and blend with each other. The piano in particular adds a brilliant coloristic component. The piece is highly rhythmic and builds to a rollicking climax where the full power of the brass section holds sway. The surprise ending is gentle, highlighting the upper winds.

The piece is recorded on Albany Records entitled Filtering, published in 2020.

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

Click here to download all performance materials.

Anna Rubin

for soprano, flute, oboe, Bb clarinet, bassoon, horn in F, piano, violin, viola, violoncello, and contrabass

De Nacht was written while I was studying in Amsterdam with Ton de Leeuw in 1983. I composed it for a competion run by the Delta Ensemble and was awarded first prize. I assembled the text, which is an impressionistic collage drawn from several sources including Near Eastern mythology and Malcolm’s X’s own life. Words from several languages are used. I was very influenced by the mythological works of Joseph Campbell and his concept of the hero’s journey. The piece is in two broad sections. Melodic fragments are set against fast, pizzicato and staccato accompanimental figures in the first part. It builds to a dramatic climax and is followed by a serene closing section which is a setting of a Hawaaian creation song.

At a time when the earth was hot,

At a time when the heavens turned about,

At a time when the sun was darkened to cause the moon to shine,

The slime, the source of the earth, the source of the night, that made the night,

Intense darkness! The deep darkness, the darkness of the sun, darkness of the night, the night gives birth.

The piece premiered at The Icebreaker (Het Ijsbreker), Amsterdam, in 1983 was performed several times after by the ensemble.

Click here to view the score.

Anna Rubin

for flute, cello, and percussion

Marguerite’s Dance - Infusion Ensemble - was written while I was in residence at the American Dance Festival with the Composers Choreographer’s Workshop at Duke University led by Earle Browne in 1981. The EAR Unit premiered the work and has performed it several times since then as well as performances at The Barge in Brooklyn and at the California Institute of the Arts. Spiky melodies emphasizing major 7ths are passed between the instruments in a 3-part slow-fast-slow succession. I am indebted to Erike Duke Fitzgerald, Dorothy Stone and Dan Kennedy for their collaboration on this piece.

Click here to view the score.