Bagatelle

Paul Christopher – cello

5 Bagatelles for Cello — Series I, no.'s 1-5

The Bagatelles for cello are studies in musical moments. Bagatelles 1 and 5 are related harmonically and serve as pillars for the inner movements. Numbers 2 and 4 are contrasting, separated by a lyrical central movement.

Luke Brouilette – piano

R for Piano

R for solo piano is comprised of a single region, divided into four systems.

System 1 - The opening movement is divided into two sections. The first is a fast, pointillistic ostinato consisting of three sub-sections. The second section introduces rhythmic motives later developed in System 3.

System 2 - The second movement is built upon a continuous 3 note ostinato in the upper part. The lower part is a counter-ostinato set in three sections separated by long, sustained notes. The lower ostinato is punctuated by a three-note attack in the lowest register of the movement and the piece.

System 3 - The third movement functions as the centerpiece of R. The longest movement of the piece, the system is characterized by rapid juxtapositions of tempo and meter. Eventually two themes emerge as dominant: slow pianissimo dyads in alternation with fast, fortissimo chord clusters. The movement closes with a fast, single note passage which has appeared as one of the motivic threads throughout the system.

System 4 - The closing movement of R is divided into three sections. The first consists of sporadic, rhythmic interjections. The second part is distinguished by homophonic, chordal progressions before closing the system and piece with ascending single lines.

Allison Parra – alto flute

Malena McLaren – bass clarinet

Suite for Winds

Suite for Winds for alto flute and bass clarinet is divided into two sections. Part I consists of 4 segments, part II is comprised of 4 studies; the two halves are distinguished by their own 12-note fixed-pitch set. Each of the eight pieces in the suite is an exploration of texture, register, and dynamics.

Segment 1 - The suite opens with a quiet introduction. A restricted pitch group, set in counterpoint foreshadows the musical texture for the remainder of the work.

Segment 2 - A rapid fortissimo interjection in the upper register of the alto flute opens the second movement. The pitch group is expanded, and frequent tempo alterations are introduced.

Segment 3 - Three static points define the structure of movement three. A homophonic texture follows the opening and middle points, before the close.

Segment 4 - The conclusion of the first half of the suite is cast in distinct two-part counterpoint. The regular rhythm established in the opening becomes disrupted by recurrent tempo changes in mixed meters.

Study 1 - The second half begins with a new fixed pitch set and tempo changes occurring every measure. The super title, "Page 3/5'30"" refers the piece's origins as an alternate unused portion of 3R for solo cello.

Study 2 - The movement is distinguished by the broadest register of the suite and is only one of three with a single tempo.

Study 3 - The penultimate piece in the suite is also the shortest. A limited pitch set in a single tempo is used to underscore the quiet stillness that characterizes the movement.

Study 4 - The finale of the suite begins with back-and-forth exchanges between the two instruments. Eventually the voices settle into an irregular, rhythmic unison. Frequent tempo changes reappear to end the movement and the suite.

Lin He – violin

Scott Humes – clarinet

Paul Christopher – cello

Trio (2012/rev. 2021)

Trio is a piece for Clarinet, Violin, and Cello set in 3 movements.

Mvt. 1 - Comprised of 2 main sections, the piece opens with three fixed-pitch groups set in counterpoint. The main sections are set apart by a separate fixed pitch played in unison, articulated by grace notes.

Mvt. 2 - A brief, lyrical movement features cello with harmonic support provided by violin and clarinet.

Mvt. 3 - Comprised of 2 main sections, Trio closes with a fast ostinato in the cello, set against a syncopated accompaniment in the upper parts.

Paul Christopher – cello

Bagatelles for Cello — Series II, no.'s 6-10

Bagatelles 6 and 9 are the focal points of this portion of the series. Numbers 7 and 10 are complementary lyrical movements. The central movement is the most contrasting, connecting the preceding and following pairs.

R - System 1