Piccolo/Flute (div. a 2)
B-flat Soprano Clarinet I-II (div. a 2)
B-flat Bass Clarinet
E-flat Alto Saxophone (div. a 2)
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Trumpet I-II (div. a 2)
Horn in F (div. a 2)
Trombone I-II (div. a 2)
Contra-Bass (or Tuba)
Percussion I-II-III-IV-V, including:
- Bass Drum
- Drum Set
- Crash Cymbal
- Floor Tom
- Kick Drum
- Rack Toms (2)
- Snare Drum
- Mark Tree (or Wind Chimes)
- Suspended Cymbal
None discovered thus far.
The meaning of this piece’s title is threefold, and in all cases it is about restoration. On a personal level, it embodies my return to composing after two years of creative drought. It is dedicated to my wife, Meg, and to my mentor, Andy Boysen, for their tireless encouragement, and for pushing me when I was ready to quit. To Meg, for insisting that I take time to pursue composing vocationally. To Andy, for gathering this consortium and providing the occasion to paint once again with one of my favorite sound palettes: the concert band. It is also dedicated to the commissioning band directors, friends all, many of whom were my fellow students at the University of New Hampshire. I cannot sufficiently express my gratitude to you for this opportunity.
Secondly (and separate from any reference to myself), it concerns two figures, one fictional and one historical. The former is Aragorn, a protagonist in J.R.R. Tolkien’s epic tale The Lord of the Rings. Aragorn is the descendant of kings from ages past, and his task is to restore that kingdom, which had long since fallen into oblivion. The title of my piece comes from Tolkien’s poem, “All that is gold does not glitter,” which contrasts Aragorn’s humble appearance and rugged experiences with his regal destiny and lineage.
Finally -- and most importantly -- this piece is about Jesus Christ. He, too, was a descendant of kings, and he arrived in Roman-occupied Judea in humble form. His coming was likewise foretold in ancient poetry, and he bore a quest unique in all of history. His task was not to throw off the yoke of Roman oppression, as many hoped, but something far more important: the restoration of the relationship between God and humanity. All my hope for this restoration is in Christ, and I owe all I have to him. He is the source of any raw composing talent that I possess, and also my chief inspiration for using it. He is my strength when I am weak, my guide through the darkness when I cannot see. He is the way in the wilderness and the river of life in the desert. He takes a faintly burning wick like me and does not quench it, but rekindles it from the ashes to everlasting light.
From the Ashes was premiered by the Wooster Scot Symphonic Band (Joel Graham conducting) on March 1st, 2020, and by the University of New Hampshire Concert Band (Casey Goodwin conducting) on March 5th.
From the Ashes was commissioned by Sean Meagher, Epping High School; Brandon Duras, Brunswick High School; Joel M. Graham, The College of Wooster; Ronald Goodwin, Spaulding High School; Timothy Vigneau, Manchester Central High School; Thomas Bourgault, Bridgewater-Raritan High School; Timothy Russell and David Brien, Manchester Memorial High School; Michael Adams, James Boccia, Laura Iwaskiewicz, and Sandra Olson, Pinkerton Academy; Andrew Boysen, Jr., Casey Goodwin, and Mark Zielinski, University of New Hampshire Bands.
- Program Note from score
None discovered thus far.
To submit a performance please join The Wind Repertory Project
Works for Winds by This Composer
- Elegy for a Joyful Heart (2013/2019)
- From the Ashes (2019)
- Gratitude (2012)
- Symphony No. 1 (2016)
- Tetra (2012)
- The Time That Is Given (2021)
- Toward a Dream of Tomorrow (2015)
- Paul Cravens website Accessed 21 May 2023