Linda Dusman

 for solo trombone

ca. 7'00"

This piece is dedicated to Patrick Crossland. Threading Mycelia is a study in musical ekphrasis, a polyphonic rendering for string quartet of a photograph of mycelial growth, inspired by the artistry of Patrick Crossland. On another level, I strove to create a model of change inspired by passages from The Mushroom at the End of the World by Anna Lowenhaupt Tsing. Her book models the possibilities of post-capitalism as an “open-ended assemblage, not a logical machine…tangling with and interrupting each other” as a process of continual creation for the betterment of all.

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. 

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Linda Dusman

for clarinet in B-flat and natural tenor trombone

ca. 10'00"

An I Ching hexagram entitled Lake, Thunder describes energy in a state of rest. According to this ancient text, thunder drops below the lake in winter to restore itself. As an analogue, this composition explores the concept of evoking energy without movement via the color changes in clarinet “same note” trills; the trombone as a “natural” instrument, without equal tempered adjustments; and the rhythm of beating patterns that result from coupling equal and non-equal tempered unisons. An unusual “tuning” etude for this unusual duo results. The piece was composed partially while in residence at the Gardarev Foundation in Point Reyes, California, and I am grateful for that time as well as for the suggestions from Patrick Crossland and E. Michael Richards about the special techniques employed.

The recording heard when viewing the score was performed by E. Michael Richards, clarinet, and Patrick Crossland, trombone. 

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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.

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