1. Art of the State 3:55
2. By Love Inviolate
C Piccolo/Flute I
B-flat Soprano Clarinet I-II-III
B-flat Bass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone I-II
E-flat Baritone Saxophone
B-flat Trumpet I-II-III
Horn in F I-II-III-IV
- Bass Drum
- Crash Cymbals
- Snare Drum
- Tam-Tam (large)
None discovered thus far.
Two highly contrasting movements depict the battle for world dominance at the brink of the 3rd millennium. The first movement, Art of the State is a wild, viral journey at 164 beats per minute. In extreme contrast, the second movement depicts the serenity of a Love Inviolate.
We live during an interesting time. As a college student, I recall many discussions with classmates who shared the unshakeable feeling that somehow they would not live beyond the age of 45. There seems to reside in us a sort of build-in precipice as we approach the beginning of the new millennium. The transition is simple a change of numbers, yet we anticipate this ‘crossing over’, somehow fascinated with all the new zeros. Questions abound.
This work, Millennium, is an offering, a prediction if you will, about what may await us at the dawn of the new millennium. The movement titles are merely pointers, the graphic … a picture to speak a thousand words. Or should I say “two thousand”. But, my friends and sensitive musicians … music transcends, for in its indescribable whisper, music speaks a thousand pictures.
Art of the State, interestingly enough, is a piece composed with exacting proportions. I say ‘interesting’ because the effect desired is one where the chaos of order is imposed. When calculated at the tempi from which I maintain a constant between all of the ‘storm’ work pieces … that of 90 beats per minute, the first movement is exactly twice as long as the second. This is all a part of the inner message, which is more of a formal concern. Against the natural inner architecture of the piece, the four-note motif collides. It is a number not contained within the Fibonacci series … though related. As the four-note motif ascends, the air should increase, so that with each iteration, each upward repetition, there is a continual crescendo, an unyielding swelling.
This work, as are all Stormworks, is dedicated to those who believe that light will triumph over darkness. Godspeed!”
- Program Note by composer
Millennium was commissioned for the 1997 Internationale Festiche Musiktage Uster.
- Program Note from publisher
None discovered thus far.
To submit a performance please join The Wind Repertory Project
- Texas Christian University (Fort Worth) Symphonic Band (Brian Youngblood, conductor) - 13 October 2020
- Chamber Wind Orchestra (Chalais, Switz.) (Etienne Mounir, conductor) – 10 November 2013
Works for Winds by This Composer
- America the Brave (1981)
- Aurora (1998)
- Ben Hur (as arranger) (1959/2008)
- Concerto for Violin and Band (2000)
- David (1995)
- The Defenders of Truefire! (1996)
- Escape from Plato's Cave (1993)
- Festival of Light! (1995)
- Finest Hour! (2000)
- Forbidden Fortress (1997)
- Godspeed! (1997)
- HAJJ (2000)
- Honor, Courage...Commitment (1996/1998)
- I Shall Hear in Heaven
- In a Cause Called "Glorious" (2001)
- In the Beginning (1992)
- Millennium (1997)
- O Come Holy Night! (1993)
- Once More Unto the Breach (2004)
- The Shoemaker (1999/2006)
- The Speech of Angels (1998)
- Three Musical Haikus for Band (1984)
- Time to Take Back the Knights! (1999)
- Triumph at CHO-SIN! (1996)
- Under the Cover of Night ... Into the Light of Day! (1993)
- The Universe Below
- A Walk in Jurassic Park. See: In the Beginning
- Without Warning (1996)
- WU (2008)