This is me playing the second movement of JS Bach's fourth cello suite (the Allemande) on bassoon. It is not transposed, but I have added some ornaments and altered some articulations in making it more idiomatic for bassoon.

Bach, JS: Suite for Solo Cello No. 4 in Eb: mvt II. Allemande

This is the world premiere recording of my new saxophone quartet, "Rivermusic". Rather than a strict programmatic journey down one particular river, it's a general reaction to common elements of many watery passages, from cold clear brooklets to warm, expansive deltas, and everywhere in between.

Rivermusic: I. mountain streams and sunny meanders

Rivermusic: II. rapids and waterfalls

The title "Sonata" might suggest a seriousness of purpose and weightiness of content in a musical composition. While this sonata does have its more brooding moments and its rhetorical turns, it is, fundamentally, a playful romp thru the tones.

The first movement begins with stark piano chords, but quickly gives way to a more energetic theme to launch the body of the movement. A second theme, reminiscent of a plaintive folksong, intrudes, and both are then subjected to motivic development before the recapitulation. The first returns unaltered, but the second has been transformed into an expansive exultation over impressionistic shimmers in the piano.

The second movement turns inward, dreaming, perhaps, of another world. These gauzy clouds part briefly for glimpses of something just beyond reach, but it is a fleeting vision, and the movement ends as it began, with quiet, distant arpeggios.

And then the third movement bursts out in a frantic scurrying rondo that dashes on a madcap adventure thru ever more convoluted musical scenes. All is well in the end, however, and the piece concludes with a giddy dance of celebration in the home key of E-flat.

Clarinet Sonata: II. Aria: Dreaming on the inside

Clarinet Sonata: III. Jeu d'Esprit

The title "Sonata" might suggest a seriousness of purpose and weightiness of content in a musical composition. While this sonata does have its more brooding moments and its rhetorical turns, it is, fundamentally, a playful romp thru the tones.

The first movement begins with stark piano chords, but quickly gives way to a more energetic theme to launch the body of the movement. A second theme, reminiscent of a plaintive folksong, intrudes, and both are then subjected to motivic development before the recapitulation. The first returns unaltered, but the second has been transformed into an expansive exultation over impressionistic shimmers in the piano.

The second movement turns inward, dreaming, perhaps, of another world. These gauzy clouds part briefly for glimpses of something just beyond reach, but it is a fleeting vision, and the movement ends as it began, with quiet, distant arpeggios.

And then the third movement bursts out in a frantic scurrying rondo that dashes on a madcap adventure thru ever more convoluted musical scenes. All is well in the end, however, and the piece concludes with a giddy dance of celebration in the home key of E-flat.

Clarinet Sonata: I. Indulgent - Playful

This is a demo of a song I wrote for my Tisch application, a setting of a sonnet by Edna St Vincent Millay. It's about mourning and grief and the persistence of memory.

Brin Solomon, voice
Andy Alden, piano

Time Does Not Bring Relief

A secretary bird in an ill-fitting human suit, brin solomon writes words and music in several genres and is doing its best to queer all of them. After majoring in composition at Yale University, solomon earned its MFA in Musical Theatre Writing at NYU/Tisch in 2018. Its full-length musical Window Full of Moths has been hailed for its "extraordinary songs" that "add magic to otherwise ordinary lives", and its latest one-act, Have You Tried Not Being A Monster, has been described as "agitprop for Julia Serano".