Alone (Stripped)

Wisteria for flute and clarinet

Feathers of Burgundy and Gold features the vibrancy of a solo alto saxophone with the diverse range of characters in the symphonic band. As the title suggests, this piece illustrates the red and yellow tones of the mythical phoenix — a symbol of rebirth. The burgundy flames of the lamentful beginning lift the phoenix out of its smoldering ashes as an upbeat ostinato with call and response sounds between mallet percussion, saxophone, and band. Unexpected transitions and bright flashes of sound detail glimpses of the phoenix’s gold feathers as it takes flight once again. As an exploration of color, Parrish utilizes both classical and experimental performance techniques from the soloist and band. Growling, air trills, and glissandi decorate the saxophone’s voice as the symphonic band juxtaposes instrumental choirs in distinct harmonies.
This premier features esteemed Emory saxophone artist Gary Paulo, as the soloist. A regular with the Atlanta Symphony Orchestra and other orchestras in the southeastern United States, Paulo has toured, performed, and taught a wide range of music genres nationwide.

Eli Parrish (b. 2001) began his compositional career with a niche for wind instruments and wind ensembles. As a Georgia native, Eli has had his works performed at Emory University, Bremen High School, and Mill Town Music Hall. His works explore the musical intersection of storytelling, environmentalism, and sound-to-color.

Feathers Of Burgundy & Gold for Solo Alto Saxophone & Symphonic Band

AI Cover-art generated from “Titan of Fire” 

Prometheus’ Prelude was composed in July 2022 at the 65th Sewanee Summer Music Festival

The prelude has been read by the Sewanee Symphony (July 2022) and the Emory Youth Symphony Orchestra (October 2022)

Prometheus' Prelude

you asked me to come
for electronics (2023)

This piece began life as a song for voice and piano based on E.E. Cummings' eponymous poem. However, I decided to subject my entire setting to a sort of cubist treatment and it resulted in a piece for fixed electronics with percussion sounds. 

Here is the poem:

you asked me to come:it was raining a little,
and the spring;a clumsy brightness of air
wonderfully stumbled above the square,
little amorous-tadpole people wiggled

battered by stuttering pearl,
                                leaves jiggled
to the jigging fragrance of newness
—and then.  My crazy fingers liked your dress
….your kiss,your kiss was a distinct brittle

flower,and the flesh crisp set
my love-tooth on edge.  So until light
each having each we promised to forget—

wherefore is there nothing left to guess:
the cheap intelligent thighs,the electric trite
thighs;the hair stupidly priceless.

you asked me to come, for electronics (2023)

All That Jazz was composed as a piece for a cycle of Nocturnes which eventually became 'Facing the Night'. On reviewing the piece, I considered it to be sufficient as a standalone piece and as an exploration of highly chromatic jazz. Listen in for a quotation of a jazz standard! 

Cover Art: All That Jazz, M.Sani.

All That Jazz, for MIDI (2021-22)

Masques - Sheherazade (1915) Szymanowski orchestrated by Kingman

POULENC Prologue.(SONATE POUR DEUX PIANOS 1953) orchestrated by Nicolas Kingman (2006)

BABBITT - COMPOSITION FOR 12 INSTRUMENTS - Monod - BBC

Schoenberg Op 19/1 - Thomas P

Schoenberg Op 19/1

A tone poem for Wind Orchestra. It was first performed in 1997 at the RNCM conducted by Clark Rundell.

BABBITT - COMPOSITION FOR 12 INSTRUMENTS - Monod - BBC

Daniel Plante