(2014) "The Damned of Tartarus" is a Symphonic Suite depicting the fates of 4 figures sentenced to an eternity of drudgery in the underworld of Tartarus. Together with a prologue and an epilogue, this work is 6 tone poems, independent, but tied together by certain commonalities.  Heard throughout the movements are the thundering chromatic bass figures representing the Gods of Olympus as well as the spinning 1/16 note figure representing the Fates.  The 4 inner movements tell the stories of 4 tragic figures, Tantalus, Sisyphus, Ixion and the Danaides.  Each follows the same basic path, an A Theme depicting the character, a B Theme depicting the crime for which they are doomed, the interactions of both themes against the background of the Gods and the Fates, and finally of the eternal punishment.  Each movement also foreshadows the glimmer of hope that pushes each character to complete their daily lives.  This hope is brought to the forefront in the concluding movement, where all of the characters are brought together through the common dream of one day being released from their bondage.

The Damned of Tartarus - Ixion and The Wheel of Fire

Fifth Symphony

I   "Complexus"
II  "Gaudium pro vita"
III "Pulchritudinis e Postestas"
IV "Rubro rubrum surrexit"


Symphony #5  - Movement III Pulchritudinis E Postestas

StringQuartet2 - Movement 1

(2017) Symphony # 7 is about transformation.  The outer movements have the common trait of “becoming” what they were intended to be over the course of the movements.  Movement I does this harmonically; starting with a harmonic structure centered around All Interval Tetrachords and morphing into a structure based on the upper tetrachord of a major scale combined with the lower tetrachord of a minor.  The transition here occurs with the “out of scale” notes acting as pivots between the 2 tonalities.  Movement IV transforms melodically; from a disjointed, fragmented theme into a more majestic and stable figure.

The inner movements transform into each other.  Though very different in mood, the 2 movements have many similarities both in harmonic makeup and melodic content.  The caesura between them obscures the fact that the ending harmony of the second is the opening harmony of the third.

Movement I – Allegretto

Movement I opens with a delicate Flute melody; lyrical in construction, but containing several motivic fragments which serve as counterpoint and development as the movement progresses.  The melody is rather long at 20 some-odd bars, but there are several interjections by the orchestra which both enhance and set off the melody from the accompaniment.  The B theme is a Passacaglia using the complex meter of ¾ over 3/2 to create a certain forward momentum while still holding back the drama.  This theme has a largely descending feel to it countering the rising nature of the Flute melody.  These opposing forces are used extensively in the development of the themes and to set up the return of A in the transformed tonality.



Movement II – Alla Marcia – Adagio

Movement II opens with a militaristic march theme pounded out in the brass.  As the theme is taken over by the other instruments, it loses much of its edginess.  A rising climax heralds a brass fanfare leading to the B theme; a running ostinato in the Bassoons…..A soaring, long-note melody takes over in the Strings.  Over the course of development, a number a moods take over the various elements of melodic content, finally melting into an Adagio based on the opening theme.  



Movement III – Appassionatta

Movement III opens with the half-diminished chord variant that ended the 2nd movement.  The A theme has many similarities with the military theme of the preceding movement; opening in the woodwinds in a much more subdued atmosphere.  The B theme in the low Brass and Double Basses quickly gives way again to the woodwinds until a solo Trumpet starts a series of repetitions of the theme expressed in a variety of moods.  A brief episode then returns to A in blocked harmonies of Strings over a pedal point.  An apparent build up leads to an unexpected somber conclusion in quiet solitude with a choir of French Horns.





Movement IV – Allegro Agitato – Maestoso con Brio

Movement IV begins with an animated ostinato in the basses.  Over this driving bass, a fragmented, seemingly disconnected melody sounds out in the Trumpets.  The B theme, also somewhat disjointed, continues the “lost” feel of the movement.  A series of episodes follow in various tempi and colors all leading to the Grosse Fugue that closes out the work using the A theme in a more structured, organized almost regal fashion.  Connecting the chaos to majesty is a solo Cello passage which brings into organization the B theme accompanied by the chorale-like French Horns……As the Cello solo ends, the 4-voice fugue takes control and mushrooms into a grandiose conclusion.

Symphony #7  - Movement IV

Symphony #7  - Movement III

Symphony #7  - Movement II

Symphony #7  - Movement I

(2016) This is my interpretation of Picasso's masterwork.

Impressions Three Musicians

(2015) “Prima Adventus Dominica” is a setting of chants of Mass Propers for the first Sunday of Advent.

Melodically, this work adheres to the original chants almost verbatim.  However, the tone centers are constantly changing from phrase to phrase, and often mid-phrase.  The ever-shifting “tonics” give rise to the poly-modal harmonic structure which drives the work.  The contrasts and clashes between these two worlds help create the overall mood which is one of controlled jubilation; great anticipation without over-anxiousness.  The melodic and harmonic architecture play against a number of rhythmic figurations to keep the feel joyous and provide a nervous energy throughout, leading up to the piety of the final Amen.

This set of Propers is the first of 4 representing the weeks of Advent.  Each subsequent setting removes a little more restraint from the jubilation leading up to the unbridled exhilaration over the birth in Bethlehem.

Prima Adventus Dominica - Introitus

Impressins Winds is a 4 movement chamber work for String Quartet, Harp, Flue, Oboe, Trumpet & French Horn.  It was inspired during one of the many wind events we've had in New England over the past year.  These are basically 4 tone poems depicting the power, variability and beauty of these forces of Mother Nature.


Impressions Winds - Zephyr

I'm a life-long Connecticut resident.  I received my degree in Composition from the University of Bridgeport where I studied with David Barnett and Michael Linton.  My instrument is the accordion ---- yes, the accordion.  

My compositional style follows no particular school of writing.  During my college years, if asked, I would quickly and proudly say that my music was atonal.  Now, with the wisdom of age, and the benefit of much more study, I know how wrong that was.  Much of my music is far from atonal in the Schoenberg, Webern, Berg sense.  I believe very strongly in melody and the subsequent development of melopy as a compositional force.  Though my melodic ideas are rarely hummable tunes,  I still maintain a commitment to the ideas and to their development as a unifying tool in my works.  I also strive for a harmonic consistency throughout a given piece.  With dissonance being a common link in most of my harmonic structures, the degree of dissonance will change from piece to piece depending on the topic.  In laymen's terms, some pieces are uglier than others.  Of course ugliness, beauty, like, dislike --- these are very subjective concepts which I try to eliminate from my thinking when composing.  My music lives in the world of tritones and augmented fifths, using "less dissonant" as my points of relaxation.  But I still try to strike a balance between tension and resolution towards the goal of creating an emotion, a picture, an idea or a feeling through the music.  In the end, I wish only to touch the soul of the listener; to make them feel something through the music.  

I hope you listen and  enjoy.

Many of the works I will post here are "Orchestral Respresentations"; that is, they were produced by synthetic means via computer.  Though at the core I believe nothing replaces a real instrument and more importantly the real musician playing that instrument, computers have afforded me the opportunity to hear my music close to my original intentions. 30 years ago, my composition teacher (Dr. David Barnett) foretold the impact of computers on composers.  His words have proven prophetic to me.  It's certainly not my aim to to replace "live" performance", nor do I make the claim that these tracks sound "real".  The virtual orchestra is merely the tool I have available to me to hear my music and to get my music heard.

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