Christopher Lowry
"New(er) Normal, for Adaptable (Flex) Band, Opus 45"

Mock-up using NotePerformer and Sibelius - Mixed in Logic Pro X

Over the past almost two years, the term ‘the new normal’ has been frequently used to describe post-quarantine life and the necessary adaptations to new ways of living.  While mostly well-meaning, I generally find its use irritating in this context, as every change of circumstance seems to get labeled as such, turning it into a sort of cliche—we’re now at the umpteenth level of “new normal!” However, some reflection on these words brought to my mind the idea of a kind of adaptability that has done some good for the music world—the flex band. While adaptable band instrumentation in and of itself is far from a new idea, being a key feature of the music of composers such as Percy Grainger, the flex band has essentially become a necessity in order to keep music going throughout the pandemic. As one could argue that this is something of a “musical new normal,” I decided to explore this medium for the first time in this work.

	This piece explores the development of one musical idea, as it adapts from simplicity through daily monotony to newfound wisdom, expanding and expounding along the way. Echoes of Holst, Vaughan Williams, Copland, Grainger, and Alfred Reed can be heard throughout this work, which is at times regal or brazen, plaintive or reserved, pompous or exuberant. Voiced in six-part harmony with prominent percussion parts, New(er) Normal was commissioned by Charles Weise for the Minnesota Junior Winds, to whom the piece is dedicated.

Lowry - New(er) Normal, For Adaptable (Flex) Band - DEMO

“‘RE:Emergence’ is a reflection on this past year-and-a-half as well as a celebration of the orchestra and of music’s power to transcend tragedy and grow from what seems like death to new life. The piece is inspired by two different stories from Greek mythology—primarily the legend of the Phoenix, and also the tale of Icarus. The Phoenix is a bird associated with the sun that is said to be born from the ashes of its predecessor—this cyclical process of a fiery, calamitous death giving way to regeneration is a common allegory in many cultures and an apt analogue to the current state of the music world. The story of Icarus is far less uplifting in that the titular character, wearing wings crafted from feathers and wax, dies after flying too close to the sun despite knowing better, causing the wax to melt and Icarus to fall into the ocean and drown. The symbolism of these two stories together drives the creation and cyclical nature of this work, with the latter story serving as a cautionary reminder not to make hasty decisions lest the cycle repeat itself again.

“The piece is divided into five separate sections held together in a sort of arch form (ABCBA). This chiastic structure, which takes its inspiration from the arc-like cycles of death and rebirth, also guides the construction both of melodic arcs, which are largely stepwise but often interrupted by leaps of major or minor sevenths in either direction, and of phrases, which often resemble musical parabolas due to the natural rise-and-fall of pitches and dynamics. Harmonically, the piece is built primarily on stacked fourths, providing a sort of omnitonal atmosphere upon which the melodies are able to develop freely. The piece opens with an ascension from the ashes; this leads to a fortissimo purgation of sorts that sets up all the key themes of the piece, followed by the resurgence of life and a constant move upwards, even if occasionally met with obstacles along the way. The bold theme soars over a clutter of woodwind flourishes, meandering and questioning as it moves towards a goal that is not yet in sight. Plans are formed and decisions are made, all rendered seemingly futile as things begin to quiet down again.

“The middle section represents a place of quiet and longing—the disingenuous peace of daily monotony colored by the anxiety of the unknown and a yearning for some semblance of normality. A break in routine leads to a plaintive chorale which is followed by an orchestral imitation of a music box, which I imagine representing the enjoyment of music at home while deeply longing for the opportunity to make music in public again. The build to the exuberant climax is not without reservation, as the notion of “flying too close to the sun” looms heavily. Nevertheless, a return to the arcing melodies from before leads to a joyous celebration of a pyrrhic victory. Following an apocalyptic crash, the piece ends much the same way it began: with an ascension into the ether. It is my hope that this process of hard-won transformation—from chaos to order, death to rebirth, darkness to light, crucifixion to resurrection—will resonate with others in the same way it has guided me through these difficult times.

“‘RE:Emergence - Catharsis for Orchestra’ is dedicated to John Burn and the Homestead-Cupertino Symphony Orchestra, who will give the premiere performance in the Kennedy Center on April 17, 2022. The piece is also dedicated to every musician and ensemble that has suffered from the repercussions of the COVID-19 pandemic, with hope that we are approaching a true sense of normalcy in the near future."

Lowry - RE:Emergence - Catharsis For Orchestra, Opus 44 (Demo - Mix, 1.24.22)

Christopher Lowry 
"Knock on Wood - Toccata for Orchestra, Opus 48"

     In 2019, World Projects commissioned me to compose a piece to be premiered in the Chicago Symphony Center; sadly, due to the CSO strike, this premiere did not pan out as intended and was moved to the Studebaker Theater instead. Hoping for a better result in 2020, World Projects again commissioned me for another piece to be performed in the CSO Center; needless to say, the pandemic cancelled this premiere entirely. Not losing hope, World Projects commissioned me for a third time in 2022, and the resulting piece is "Knock on Wood - Toccata for Orchestra."
     With the idea that the third time is the charm, "Knock on Wood" is a sort of good luck piece. The entire inspiration for the work is based on the title, which refers to an old superstitious tradition of tapping on wood to ward off bad luck. Perhaps unsurprisingly, this notion is represented heavily through the use of wooden percussion instruments—such as wood blocks, temple blocks, claves, castanets, slapstick, xylophone, marimba, and even a cajón (a Peruvian box-drum traditionally made entirely of wood that is sat on and played with the hands), among others—as well as the string players, harpist, and pianist literally knocking on wood by rapping on the wooden bodies of their instruments with their knuckles.
     The piece unfolds as a high-octane, quixotic toccata, a Renaissance- or Baroque-era musical form characterized by virtuosic figures and quick-moving runs. Traditionally, toccatas were typically written for keyboard instruments as a way to demonstrate the dexterity of the player’s “touch;” in fact, the word toccata translates to “touched,” and given that “touch wood” is another variation on the titular phrase, I felt this was an all-too appropriate genre for this piece (whose capricious nature is just as much a nod to seventeenth-century Italian ideals as it is an affirmation of modern Americana). Though tinged by cautious optimism, the piece holds nothing back—it’s unrelentingly rhythmic, contrapuntal, and often frenetic, and it grooves the whole way from the pseudo-minimalistic opening to the swashbuckling finale, which (spoiler alert!) ends with the ultimate knock on wood—a fortissississimo strike from a hammer!
     While certainly nothing profound, "Knock on Wood" signifies good fortune at the time it is most needed, and it hopefully fulfills its goal of ushering in good luck for its premiere performance in the Chicago Symphony Center on March 28, 2023, by the Canyon High School Symphony Orchestra, conducted by Michael Whang (the same conductor who would’ve given the 2020 premiere!).

“Knock on Wood” is scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, optional contrabassoon, 4 horns, 3 trumpets, 2 tenor trombones, bass trombone, tuba, timpani (played with mallets and with Hot Rods), percussion (3 players sharing snare drum, bass drum, cajón, log drum, crash cymbals, tam-tam, 2 large rutes, woodblock, temple blocks, claves, castanets, slapstick, vibraslap, Mahler hammer, xylophone, and marimba), optional harp, piano, and strings. 

Composed and Mixed using Sibelius Ultimate and Logic Pro X with samples from NotePerformer, East West Symphonic Orchestra, Kontakt Vienna Symphonic, TapSpace Virtual Drumline, and the CDL Sound Library Project. Live percussion and string solos played and recorded by the composer.

Knock on Wood - Toccata For Orchestra (Mockup, Updated 3.17.23)

Christopher Lowry
"Portrait in Yellow and Silver, for Chamber Orchestra, Opus 47"
World Premiere Performance:
Amarillo Virtuosi Chamber Orchestra, conducted by Peter Bay
January 7, 2023; Amarillo Botanical Gardens Ballroom; Amarillo, TX

Engineered by Carlos Casso and Christopher Lowry; Edited/Mixed/Mastered by Christopher Lowry

	“Written to commemorate the 25th concert season of Chamber Music Amarillo, 'Portrait in Yellow and Silver' is a quirky, forward-driven concert overture that pays homage to the city of Amarillo and its vibrant musical scene. In the same vein as my earlier orchestral work 'Golden Rhapsody,' written for a 50th anniversary (gold), and concert band piece '10 (Tin [sic {not SiC}]),' written for a 10th anniversary (tin), this piece draws inspiration from the metal/color silver (associated with the 25th anniversary) and yellow (the translation of the Spanish word “Amarillo”). Rather than an attempt at a “synesthetic” journey that correlates specific pitches and key centers with colors, this work aims to abstractly represent these two colors and the relationship between them, as though they were being painted in real time.
	"The primary thematic material of the piece depicts silver through vibrant, shimmering timbres and articulations and striking intervallic leaps; the secondary motive represents yellow through lyrical melodic arcs and slightly more linear movement. The accompanimental content is largely quartal and at times quintal, providing a sense of harmonic openness through which these two themes can develop, both independently of each other and together.
	"With the exception of a short, slow respite in the middle, the piece is unrelenting in its quick-footed  progression and celebratory nature. Though this work is not meant to be programmatic, I imagine it as a sojourn of sorts—almost like a fast-paced drive down Route 66 broken up by a short stop in Amarillo to rest and admire the remarkable yellow-tinged sunsets that are typical of the area. This said, I invite the listener to paint their own picture of what this piece represents; whatever images are conjured up, it is my hope that this piece succeeds at honoring and celebrating CMA and representing the hard-won victory that is a 25th concert season in a post-pandemic world.
	"Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings, 'Portrait in Yellow and Silver' was commissioned by David Palmer for Chamber Music Amarillo; the world premiere performance occurred on January 7, 2023, by the Amarillo Virtuosi, under the direction of Peter Bay and with the composer as principal violist."

"Portrait in Yellow And Silver, Opus 47" (World Premiere)

Christopher Lowry (Winner of the Austin Symphonic Band’s Inaugural Young Composer’s Competition) 
“(Delusions of) Grandeur,” Opus 52 
Commissioned for Kyle Glaser and the ASB

Demo Mockup for study purposes
Sequenced using Sibelius Ultimate, ReWire, and Logic Pro X
Samples from NotePerformer, EastWest Symphonic Orchestra, Garritan Concert and Marching Band 2, Vienna Symphonic Library, TapSpace Virtual Drumline, and Sibelius Sounds 7, as well as some homemade samples. Edited and mixed in Izotope RX6, Melodyne Studio, and Logic.

This piece is scored for piccolo, 2 flutes, 2 oboes (second doubling on English horn), 2 bassoons, optional contrabassoon, piccolo E-flat clarinet, 3 B-flat clarinet sections, alto clarinet, bass clarinet, contrabass clarinet, 2 alto saxophones, tenor saxophone, baritone saxophone, 3 C trumpets, 2 flugelhorns, 4 horns, 2 tenor trombones, bass trombone, euphonium, tubas, double bass, harp, piano, and 6 percussionists (sharing four timpani, snare drum, field drum, 2 concert toms, bass drum, impact drum, two pairs of crash cymbals, 2 suspended cymbals, sizzle cymbal, swish knocker cymbal, tam-tam, thunder sheet, 3 triangles, wood block, marching machine, slapstick, anvil, metal chains, 5 sets of small metal wind chimes, 2 whirly tubes, xylophone, marimba, vibraphone, glockenspiel, crotales, and tubular bells).

For full notes about the piece, please visit this link: https://www.dropbox.com/scl/fi/nfxa590athe9kcwg8k03j/delusions-of-program-notes.pdf?rlkey=bv28lhpgpgjat5plypparqj8a&dl=0

"(Delusions of) Grandeur," for Symphonic Wind Band (Mockup, Mix 1 [3.2.24])

"Fractured Topographies: Landscape for Orchestra, Opus 50"

World Premiere, September 2023 
Amarillo Symphony Orchestra
George Jackson, conductor 

Fractured Topographies: Landscape for Orchestra (World Premiere, Edit 3 [not mixed])

Lowry - Zenith (for Jackson), for Viola and Tape [World Premiere]

Carol Nies leads the Curb Youth Symphony in an energetic performance of my "Celebration Overture."  Recorded live, May 7, 2012 in Ingram Hall, Blair School of Music - Vanderbilt University; Nashville, TN  

Celebration Overture (Live with the Curb Youth Symphony - May 2012)

A performance of my trio "Livewire!" (Opus 7) for flute, clarinet, and horn; from the 2013 Tennessee Music Education Association Music Conference, Chattanooga, TN (April 11, 2013) 
Heather Small, flute; Nikolasa Tejero, clarinet; Gordon James, horn

"Livewire!" is a short, energetic showpiece for flute, clarinet, and horn, which I composed over the summer of 2010 while spending time in Vienna, Austria, and Aix-en-Provence, France. The initial idea of the piece was inspired by “electrical issues” experienced while overseas, beginning with my excursion to London earlier in the year. Basically, I have “shorted-out” or otherwise destroyed several appliances (including a hairdryer, a power strip, and several power adapters and voltage converters) due to both faulty equipment and ignorance. Regardless of the adapters I use or the voltage I set things to, I always seem to end up destroying something. Though this is extremely irritating, it “sparked” inspiration (pun completely intended) for this piece. 

"The piece serves to musically depict the fickle nature of electricity—everything from small zaps and jolts, to gentle undulating currents, to total electrocution! This is achieved through a variety of different means, most obviously through effects and extended techniques (fluttertongue, glissandi, horn rips, and use of the mute and stopping) and through form (many jagged phrases and full stops—"short-fuses," if you will). After the beginning fanfare, each instrument has a characteristic solo based on a different scale. This is followed by disjointed melodic motives constantly interrupted by crude "zaps" from the horn. This culminates in a variation on earlier thematic material presented as a duo between flute and clarinet over a nervous bass line. After building to a sort of climax, the energy is dispersed through a tutti fortissimo outburst. The middle section seems calmer but is still filled with nervous intensity; a phrase is never finished without some form of “surge” from the horn or murmur from the flute or clarinet. Of course, the original material comes back, but this time truncated and with the flute and clarinet having swapped roles. Sparks fly (hopefully only figuratively speaking!) as an electric flourish of running notes carries the piece to an explosive finale.

"Livewire!" was written for and is dedicated to flutist Abi Coffer, clarinetist Joe Medina, and hornist Hannah Tilton. This piece is the Collegiate Winner of the 2012 National Association for Music Education (NAfME) Composition Competition; it was premiere on June 24, 2012, by members of "The President's Own" U.S. Marine Band on the Kennedy Center's Millennium Stage, Washington DC."

Christopher Lowry: "Livewire! Op. 7, for Flute, Clarinet, and Horn" (Live in Chattanooga)

Field Day Fanfare, Opus 21 (2016), for Symphonic Brass and Percussion

This short Hollywood-inspired fanfare for brass and percussion was written for a joyous occasion, and as such, it is rather grandiose and celebratory in style.  "Field Day Fanfare" is dedicated to my aunt Julie Hawk.

The piece is scored for 4 trumpets in C, 4 horns in F, 2 tenor trombones, bass trombone, euphonium, 2 tubas, timpani, snare drum, bass drum, crash and suspended cymbals, and optional tam-tam.

Synthesized using EastWest Quantum Leap Symphonic Orchestra Gold (except for the euphonium, which is from the Sibelius edition of Garritan Concert and Marching Band), mixed in Logic Pro X.

Field Day Fanfare, Opus 21 - Demo (Mix Draft 2)

Lowry: "A Cypress Prelude," for Wind Ensemble, Opus 16a
Central Band of the Royal Air Force; Duncan Stubbs, conductor
Final of the Salford International Composers Competition: April 14, 2016; Salford, UK

This is first of three "world premieres" given of the wind ensemble version of my piece "A Cypress Prelude," the other two occurring on May 1 (Fridley City Band, cond. Phil Raaen; St. Paul, MN) and May 8 (Oklahoma Youth Winds, cond. Matthew Mailman; Oklahoma City, OK); these three performances were all considered world premieres, as they all were the results of simultaneous competition wins. The piece was a prizewinner in the Salford International Composers Competition, the BandWidth Music Festival Call for Scores, and the Oklahoma Youth Winds Call for Scores.

About the piece: 
"This piece is meant to musically depict the simultaneous stalwartness and abstract beauty of a Southern Cypress Tree. The theme grows from one small motive that germinates organically throughout the course of this short, relatively undeveloped piece. This motive is somewhat stark and militaristic sounding at times, and more plaintive and introspective at other times. The theme is first introduced as a full unison over the ringing of bells and tam-tam, and after a short horn interlude, it appears again as a sort of fugato for the clarinets, which sets up the modal, contrapuntal nature of the piece. The interplay between the clarinets and the rest of the winds gives way to a sort of full-band refrain that appears multiple times. The second theme appears first as a sort of counter-theme but then evolves into a slow middle section, much more lush and ‘verdant’ than before. After another statement of the opening melody, this time in the trombone, the ensemble begins to repeat the refrain, building in dynamics and intensity until a capricious coda drives the piece to a vibrant finish. Overall the piece is somewhat whimsical, while remaining deeply rooted in its serious nature."

A Cypress Prelude, for Wind Ensemble, Opus 16a (World Premiere)

From my upcoming “Instrumental Hymnal” album, here is my arrangement of “Power in the Blood,” originally written in 1899 by Lewis E. Jones. This arrangement is meant to sound like an amateur bluegrass/old-time jam session, and, while the whole album is dedicated to the memory of my grandparents, I’d also like to dedicate this one in particular to my Uncle Jerry Barrentine, who passed away in 2008—though I never had the chance to hear him play, he was by all accounts an avid bluegrass lover and skilled guitarist, so I’d like to think he would enjoy hearing this.

The upright bass is played by John Cleere; all fiddles, violas, mandolin, guitars (tenor and 12-string), banjos (tenor and 5-string), harmonicas, drums, and mixing by myself. The majority of this was recorded summer 2017, the rest was recorded in early-to-mid-2019.

"Power in the Blood" (Semi-Final Mix 5.21.19)

This is the demo recording of my viola quartet "Romanza," which was a commission for the American Viola Society; the piece was premiered late September 2012 in Knoxville, TN and has since been performed all over the world.  I recorded all four viola parts for this demo using the M-Audio Microtrack II recorder.

Here are notes about the piece:
“Inspired by the rich vocal qualities of the viola, 'Romanza' attempts to combine two very different musical idioms: English pastoral and Italian opera. As a violist myself, I have always been drawn to the beauty and complexity of the viola’s tone; it can be dark and brooding, idyllic and nostalgic, or even bright and joyful. These are just some of the many facets of this unique instrument that encouraged the creation of this work. 'Romanza' deals with the implications of writing for four of the same instrument by experimentation with close spacing of voices, as well as pairing the opposite extremes of range, simultaneously utilizing the richness and power of the C-string and the plaintive singing qualities of the upper register. The piece consists of one primary theme with very little deviation from it; most of the development occurs through means such as motivic variation and changes in tessitura, texture, harmony, counterpoint, and tempo. That said, the piece can essentially be viewed in ternary form, with two slower sections separated by a faster lively section, contrasting the lyrical with the fiery and virtuosic. It exploits many of the viola’s wonderful effects and timbres, a variety of bowstrokes, a broad range of dynamics, and even the challenge of balancing voices. The melodic material is evenly shared among the four players, and therefore all four voices should be thought of as equals. 'Romanza' was commissioned by David Bynog for the American Viola Society.”

Christopher Lowry: Romanza for Four Violas, Opus 15

From my upcoming “Instrumental Hymnal” album, here is my arrangement of my absolute favorite hymn of all time, "Arise" (or “Come ye Sinners, Poor and Needy”), an anonymous tune from around 1835. This arrangement, also featuring the refrain to the tune of “Holy Manna” (William Moore, 1829) as well as an original bridge by myself, is in a somewhat-classically-inspired, Celtic-infused “Newgrass” style, which owes a lot to Nickel Creek (more from a production standpoint than from the actual playing).  

Except for the cello and bass, which are played beautifully by Emily Nelson and John Cleere respectively, everything here (fiddles, violas, mandolin, tenor guitar, nylon-string and 12-string guitars, jarana, tenor and 5-string banjos) is played and/or programmed by myself. The mix is still a work in progress, and I’m open to any comments/suggestions people might have to make it sound better. 

I’d like to dedicate this track to the memory of our dear family friend Dale Dunnewold, who passed away from pancreatic cancer on May 28, 2016. Dale was a guiding light for so many people, and his family has always been special to me.

"Arise" (Semi-Final Mx, 6.4.20)

My grandmother Melba Lollar passed away recently, and since I was unable to attend her memorial service, I was asked to arrange and record a few hymns to be played at the service.  I arranged, recorded, and mixed all of this in less than 24 hours (an all-nighter well spent), so pardon the intonation and the background noise (can't help that there are noisy children outside my windows).  I'll probably re-record and edit this more later when I get ready to do the full-length hymn album.

This arrangement takes my own approach to the four-part hymn and expands into a more modern ballad-like feel.  Instruments: Violas, Brita water filter shaker, synth pad and bass, and percussion samples I took of myself.

My Jesus, I Love Thee

Today (April 8, 2020) would’ve been the world premiere of my piece “A Magnolia Fantasy” in the Chicago Symphony Center. While it’s a significant loss to not have this brought to life by a real orchestra, I decided to at least share this mockup of the piece that I just finished mixing—a virtual “world premiere” of sorts! I spent a lot more time than usual working on different articulations and expressions within each instrument set in order to bring this virtual performance as close to realism as possible. 


Samples from EastWest Symphonic Orchestra, Kontakt 5 Vienna Symphonic Library, and Tapspace Virtual Drumline. Mixed in Logic Pro X.

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