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.

The recording heard when viewing the score was recorded by the John Hopkins Symphony conducted by Jay Gaylin. 

Click here to view the score.

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 is available on opening the score, performed by New England Conservatory Wind Ensemble, with William Drury, Director.

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Linda Dusman

for piccolo and alto flute

ca. 5'30"

An Unsubstantial Territory is dedicated to the inHale duo. Its color and texture reflect sunsets on Folly's Cove in Cape Ann, Massachusetts, and the following passage from Virginia Woolf's The Waves: "But when we sit close together, ...we melt into each other with phrases. We are edged with mist. We make an unsubstantial territory." Composed for piccolo and alto flute, it is also conceived as a tuning etude for these two very difficult-to-tune members of the flute family.

The recording of this piece is by the inHale Duo (Lisa Cella, alto flute; Jane Rigler, piccolo), and can be heard when viewing the score.

Click here to view the score.

Sofia Kamayianni

for youth symphony orchestra

ca. 3'00"

This piece was premiered in 2015 by the UMBC Symphony under the direction of E. Michael Richards, and the video recording is linked below.

Click here to view the score.

Click here to view a performance (YouTube).

Jane Rigler

for solo piccolo

Red: in English this word refers to a vibrant color. Throughout different cultures in the world this color represents: blood, wine, danger, war, violence, the devil, love, embarrassment, happiness, good luck, purity, joy, etc… In the Spanish language red means “network” or “net”. If played fast enough, one can perceive the network (i.e., Morse-code-like effect) of the patterns. Perhaps there is a hidden or not so hidden meaning in them? There is no “net” for the piccoloist to fall into for safety and the performer should push to his/her extremes: feeling the sensation of being on the edge…and perhaps even the audience might feel that at any moment everything will fall apart…

Click here to view the score.

Click here to listen to the piece. (SoundCloud).

Click here for Jane Rigler's website.

Patricia Ann Repar

flute/piccolo, B-flat clarinet, voice, violin, violoncello, contrabass, and tape

ca. 11'00"

Note to performers and listeners: written in celebration of my cousin Jerry Leon who made the last of his many adventures on earth while skiing in February of 2004.

Note to self: Find the Hawaiian chant secretly embedded on the ‘Ulalena’ CD; And on ‘The Master Chanters of Hawaii’ use “e ulu, e ulu, kini o ke akua” (Inspire us, inspire us, O gods).

Note to Jerry:            whispers of other times and places

                                    both mythic and real

                                    souls and gypsies

                                    long passed and yet to come

                                    but I see you

                                    bright, strong, and clear

                                    like water

                                    atop, within, above, and beyond

                                    Red Mountain.

Click here to view the score.