Sonata for piano
1. Agitato
2. Call of the Sirens
3. Toccata
Months of the Year
4. January: Rolling waves …. not to be overwhelmed
5. February: Barcarolle
6. March: War
7. April: Rain
8. May: May Dance
9. June: Fireflies
10. July: Fireworks
11. August: Sun, sea and sand
12. September: September Forest
13. October: Harvest
14. November: Autumn Leaves
15. December: Bells
Sonata for Piano (2014) was inspired in part by Stravinsky’s Piano Sonata (1924).
Agitato opens with a motif set in 4+6/8 time around a whole-tone pattern. This short introduction is followed by the main melody of the sonata-allegro form, which enters quietly, accompanied by left-hand figuration. The second subject is set in augmented triads—a lush melody which is expanded and developed with triplet right-hand figuration. The development section includes jazz-like interspersions above the opening accompaniment pattern, moving through various tonal centers. The second subject is developed with a meter change to 4/4 and then combined with the jazzy riff motif, building to the recapitulation. A coda finishes this first movement, bringing together elements of the jazzy motif with the octave patterns from the introduction, building to a rousing conclusion.
The second movement, Call of the Sirens (2006), opens with an undulating left-hand ostinato on a whole-tone scale, providing the backdrop for a suspended melody. Inspired by the calls of mythical sirens to ships at sea, the movement of water and the eerie call above is developed in patterns between the hands. The sea becomes more tumultuous—the piece builds to a climax before the floating melody is restated with minor 9th dissonances coloring the call as it fades away.
Toccata (2006) opens with an angular melody accompanied by taps on the piano case and foot stomps. The second melody is introduced high in the piano register, then developed in mixed meters, in combination with the opening motif. The middle section begins with a bell tolling, followed by a gentle waltz. This melody is then set as a mazurka, with the emphasis on beat two, and developed between waltz and mazurka rhythms. The opening material returns, with octaves expanding the motivic development. The final coda includes crashes of sound, with the score indicating that as many notes as possible should be pressed down simultaneously between indicated octaves.
Months of the Year (2022) was inspired by Tchaikovsky’s The Seasons.
January – Rolling waves… not to be overwhelmed, captures the uncertainty of life during Covid-19. The left hand’s waves on black keys are stormy and rolling with emotion.
February – Barcarolle offers respite, a gentle boat song inspired by Chopin’s piece of the same name.
March – War, written in 2022 as the war in Ukraine escalated, attempts to capture the tumult, angst, and horror of war. Juxtaposing three-against-two rhythms, using augmented triads and resounding octaves, it reflects the chaos of conflict.
April – Rain opens with hypnotic, falling raindrops played between the hands. Minimalistic, with shifting bi-tonal harmonies, the rain sets the backdrop for a low, sustained left-hand line undergirding the falling droplets.
May – May Dance is a traditional dance around a maypole. In ABA form, the musical lines and augmented harmonies become more intertwined as the dance develops. The middle section becomes a waltz before returning to the lively dance.
June – Fireflies recalls childhood memories of chasing fireflies in a Virginia yard. The flashes of color and quick, darting motions evoke carefree summer nights.
July – Fireworks references U.S. Independence Day and Debussy’s Feux d’artifice. It begins with spontaneous bursts, swirling musical Catherine wheels, and cascading explosions, ending in a haze of fading illuminations.
August – Sun, sea and sand is a seaside vacation piece. The sun is majestic and hot; the sand trickles through fingertips in piano figuration; the sea is cool and undulating.
September – September Forest was inspired by Amy Beach’s piece of the same name, which the composer recorded from manuscript. Large oak trees near the composer’s home are represented by full chordal harmonies. A middle section paints a tranquil forest oasis, with a brief quotation from Beach’s original.
October – Harvest opens with threshing machines evoking Florence Price’s piano writing. Birds sing and feast on leftovers, followed by a lively hoedown where workers celebrate the harvest.
November – Autumn Leaves begins with the crunch of leaves underfoot. Beach’s Dancing Leaves, Op. 102, No. 2, is briefly referenced amid drifting and twirling leaf motifs. A jaunty second melody depicts a happy walk through the leaves.
December – Bells opens with church chimes, including Big Ben and Himalayan bells. “O Come, All Ye Faithful” is briefly referenced before sleigh bells join an original melody. The opening chimes return, ending with the sleigh bells fading into the distance.
