This is a MIDI version of Della's aria from my forthcoming opera, The Gift of the Magi.

Della Aria Draft Audio

The Songs for the Church Year may be performed as solos in a worship service or in a concert setting. The songs do not need to be peformed as an entire set, and various combinations and orderings for the songs are possible. The first seven songs were premiered by the composer (baritone) and pianist Peter Lewis in Bonita Springs, FL.

The Widow's Offering High Version MIDI

Song Of Thanksgiving High Version MIDI

Song Of Praise High Version MIDI

Praise Ye The Lord High Verison MIDI

God Heareth Prayer High Version MIDI

Christians Awake High Version MIDI

Beyond The Stars High Version MIDI

This is the MIDI version of my one-act opera, The Gift of the Magi.

jasonbahrmusic.com

The Gift of the Magi (MIDI version)

This overture is excerpted from my opera, The Gift of the Magi.

Christmas Eve Overture

A 14-minute concertino for flute an orchestra! It's a great work ready to be born. Contact me if you want to premiere this work. www.jasonbahrmusic.com

Concertino for Flute and Orchestra (MIDI version)

This work was originally written for brass quintet.  Here it is in arrangement for concert band performed by the FGCU Wind Orchestra.  Two prominent motives, F-G-C and E-A-G honor my current place of employment and the great students with whom I work.

Eagle Fanfare (version for concert band)

The premiere of my Piano Prelude No. 12 as performed by Peter Lewis.

01 Piano Prelude No. 12

This work was written for my sister who died in 2013 after a long illness. It is the 11th in a series of annual preludes.

Piano Prelude No. 11 (in Memoriam Julie - Bahr Kostelac)

Piano Prelude No. 13 (for right hand alone) Kim Phuc is known as “The Girl in the Photo” or “The Napalm Girl.” She was photographed in 1972 running naked on a road after being severely burned by napalm during the Vietnam War. The photo is a tragic reminder of how innocents suffer during wars. I was inspired to write my Piano Prelude No. 13 in Phuc’s honor when I read an article that said she was still receiving treatments for her burns. The article also said that Ms. Phuc had always wanted to play the piano, but because of her injuries, especially to her left hand, this was impossible. My work is written for right hand alone, and contrast dissonant, aggressive ideas with more reflective and soothing sounds.

Piano Prelude No. 13

Israel Heller commissioned this work. For this work, I wanted to meditate on and explore the identity of the Holy Spirit.  Paraclete is a word used to describe the Holy Spirit in the New Testament.  I chose to focus on three prominent episodes from the Bible where the Holy Spirit is featured, and ruminate on those through music.

The second movement recalls the presence of the Holy Spirit at the baptism of Christ.  The work is designed as an inverted arch and begins with a theme derived from harmonics.  This is then presented in a very high register and gradually descends.  The work then builds to a dissonant climax, calling to mind Christ’s fate.  After this, the theme from the opening returns, and climbs again to the highest register of the violin.

Paraclete II. Dove

This work was inspired by the by Cabanel's painting of the same name. In it, Venus, beautiful and erotic, is brought forth on a wave, announced by cherubim. My work is in four sections (ABAC). The first section depicts the waves—they originate in the depths of the sea before crashing on the surface. In the second section Venus is revealed and admired. The music here reflects her beauty and both fascination and hesitation from the observer. The third section revisits musical ideas from the first, but now with more vigor. The final section is a kind of afterglow to the experience of this great work.

Naissance De Venus

The third movement of my second symphony.  This is a setting of Walt Whitman's A Sight in Camp.  This recording is by the Ohio Wesleyan University Choir under the direction of Jason Hiester.  This version is for chamber orchestra, though I have since re-orchestrated it for full orchestra.

Symphony No. 2 III. A Sight in Camp

A 12.5 minute work for orchestra.  This work won the Northridge Prize for contemporary orchestra music.

More about my music at jasonbahrmusic.com

Golgotha

A setting of Psalm 1 in French.  This work won the Cambridge Madrigal Singers Composition Competition.

To purchase this score go to www.jasonbahr.com.

Psaume 1

The Moppet Songs (baritone and piano) were written in the summer of '98. The texts are taken from The Cat Walked Through the Casserole, a book of children's poems by Pamela Espeland and Marilyn Nelson. I've always thought the poems were fun, and enjoyed working on the songs. Nose Pickers is a brief exploration of a pastime we all share.

Moppet Songs: I. Nose Pickers

The Moppet Songs (baritone and piano) were written in the summer of '98. The texts are taken from The Cat Walked Through the Casserole, a book of children's poems by Pamela Espeland and Marilyn Nelson. I've always thought the poems were fun, and enjoyed working on the songs. Thomas Has a Girlfriend is a rather sweet, sentimental number.

Moppet Songs: II. Thomas Has A Girlfriend

A setting of Luke 2:14 (in Latin) for Trent Brown and the Florida Gulf Coast University Chamber Choir

Gloria

This work was written for the Boston Brass (quintet).  The main motives are derived from my place of work, FGC for Florida Gulf Coast University and EAG for Eagles, our mascot.  It is about three minutes long.

To purchase this score go to www.jasonbahr.com.

Eagle Fanfare

O sacrum convivium

I was influenced by the great composer George Crumb when writing this work.  Crumb as a particular way of getting all the possible sounds out of an ensemble.  There is also something otherworldly about his music.  I have tried to capture the primitive nature of music found in Crumb.  The work opens with a primeval solo in the lowest register of the piano.  This alternates with a somewhat tentative percussion solo.  Finally the ‘cello has a say.  Fragments of ideas are repeated irregularly, interrupted by outbursts from the piano and percussion.  There is a climax, then calm.
     Next the ‘cello plays a more reserved melody, now supported by the piano.  These ideas are developed over time, and the tension builds again, reaching a  climax that recalls the piano opening.  The final section of the piece is a bow to Messiaen’s Quartet for the End of Time.  It is a slow moving meditation that features ‘cello harmonics and fragments of earlier ideas.
     This work received an Honorable Mention in the 2003 Kubik International Composition Competition.  Among the judges were John Harbison, Shulamit Ran and Krzysztof Penderecki.


cryptic omens...ritual echoes

Scarlatti wrote over 500 keyboard sonatas. I am not really a fan of them. This then is a tribute (in jest) to Scarlatti’s style. 

Scarlatti Scherzo (Piano Prelude 2011)

This recording was made virtually by over 50 musicians across the United States. This is the "premiere" in the time of COVID.

Praise Ye Final the Lord

This piece was written for my good friend Jason Baker.  The work is a set of three variations followed by the theme in the fourth movement.  The fourth movement is a rhythmic setting of text from Exodus 15, a song Moses sings after the Israelites have crossed the Red Sea.  The percussionist does not speak the text, but the text serves as the basis for the rhythms played on the snare drums.  After the fourth movement was written, I wrote the first three movements as variations based on fragments of the fourth movement and patterned after speech pathologies.  It seems Moses had some sort of speech impediment (as was the case with Jason and me when we were children).

Song of Moses  I. Repetition

Song of Moses  II.   Prolongation

Song of Moses  III.  Blocking

Song of Moses  IV. Song of Moses

This work is a rondo form, the 'strikes' sections alternating with the choral-like 'resonance' sections.

Strikes and Resonance

A setting of a sacred Latin text for soprano and tenor

Jesu Dulcis Memoria

Program notes:

This was my first opportunity to write for this important ensemble.  When I began this work, my mind raced with possibilities.  I thought about traditional brass literature, and the standard forms for brass.  Of course there are many wonderful fanfares and solemn hymns.  I also knew I wanted to write a silly scherzo, but which to choose?

I finally decided my best option was to choose them all as a part of a suite.  I added a fugue movement to the three listed above.  I had recently written a fugato as a part of a bassoon and piano work, and had such fun I wanted to try it again.  I decided to go back to some traditional roots for the ending rondo, a typical form for final movements of sonatas and symphonies.  The title of the entire work tries to reconcile all these ideas.  Each movement takes its inspiration from the brass quintet, but from there the movements diverge.

The Intrada is not a typical joyous fanfare; rather it is pensive, even ominous at times.  It is in ABA form with the B as a kind of distant echo to the main material.  Really, if one has the chance to write for brass one must take advantage of the incredible articulation and dynamic possibilities!

When I decided on the five part fugue for the second movement, I went to humbly to study the master, Bach.  The C-sharp minor fugue from the Well-Tempered Clavier is one of the finest pieces ever written.  My subject begins on C-sharp and has the same basic shape as Bach's subject.  Although my work is clearly in a 21st-century language, I hope my careful study of the Bach is evidenced in this movement.

My Hymn, like the Intrada, is a sobering affair.  After a brief introduction, the first trumpet player gives the theme.  Though beginning soft and calm, the theme gradually rises to a loud climax.  There is a transitional breather before the horn plays a variation on the hymn-theme. This presentation of the hymn is interrupted by commentary from the other instruments.  Occasionally I also enjoyed dwelling on a particular idea.  Again there is a gradual build to an even more powerful climax.  After this, there is a bit of a coda with fragments of the hymn.

With all this sobriety, the Scherzo is a welcome relief!  For some reason working on this I had an image in mind of all these little cartoon cogs running around in a factory.  I never quite decided why they were all in such a hurry, but they kept running and were quite serious in a little cog kind of way.  This movement uses frequent changes of meter (changes of direction for the cogs?) and a variety of mutes.  Please enjoy.

The final Rondo is, I hope, perceived to be celebratory in nature.  This is a five-part Rondo, ABACA.  The B and C section are dance-like (courrente and gigue) but with a contemporary twist.  The B contains unexpected harmonies and the C is (mostly) in 5/8.  The A sections contain a rather long, optimistic melody. I have tried to surround this in each case by fun ornamentations typical of great composer Gabrieli.

The piece was written from October 2003 to November 2004 in Kansas City, MO and Starkville, MS.  SDG


Divergence  I. Intrada  Fanfare with Echo

I. The Light Shines in the Darkness

        The light shines in the darkness, but the darkness has not overcome it.  John 1:5

II.  Separating Light from Darkness
	And God said, “Let there be light,” and there was light.  God saw that the light was good, and he separated the light from the darkness.  Genesis 1:3-4

III. Where Darkness Abides
	What is the way to the abode of light?  And where does darkness abide? Job 38:19

IV. Darkness into Light
	You are my lamp, O Lord; the Lord turns my darkness into light.  2 Samuel 22:29

V. Armor of Light
	The night is nearly over; the day is almost here.  So let us put aside the deeds of darkness and put on the armor of light.  Romans 13:12 


01 Contemplations of Darkness and Light I. The Light Shines in the Darkness

A setting of Ecclesiastes 4:7-11:

7Then I returned, and I saw vanity under the sun.  8There is one alone, and there is not a second; yea, he hath neither child nor brother: yet is there no end of all his labour;
neither is his eye satisfied with riches; neither saith he, For whom do I labour, and bereave my soul of good? This is also vanity, yea, it is a sore travail. 9Two are better than one; because they have a good reward for their labour. 10For if they fall, the one will lift up his fellow: but woe to him that is alone when he falleth; for he hath not another to help him up. 11Again, if two lie together, then they have heat: but how can one be warm alone?

To purchase this score go to www.jasonbahr.com.

Alone for SATB choir

The Fantasy for Five Trumpets was commissioned by the members of the Alabama Trumpet Guild Ensemble for performance at the 2013 International Trumpet Guild Conference:  Dr. Joe Ardovino (University of Montevallo), Dr. Mark DeGoti (Auburn University), Dr. Michael Huff (Troy University), Dr. Peter Wood (University of South Alabama), Dr. Eric Yates (University of Alabama)Dr. James Zingara (University of Alablam at Birmingham).  The work is in a sonata form.  The first theme is marked by repeated open intervals which are ornamented.  The second theme is in 7/8 and contains a heroic melody.  The closing theme features repeated notes and is dynamically active.  www.jasonbahrmusic.com

Fantasy for Five Trumpets

Jason Bahr is a composer living in southwest Florida. He has had over 600 combined performances of his works. Bahr has received a MacDowell Colony Residency, a Fromm Foundation commission, the Northridge Prize for Orchestral Composition and the Cambridge Madrigal Singers Choral Composition Competition. He holds masters and doctorate degrees in music composition from the Indiana University Jacobs School of Music, and a bachelor's degree in music composition from the University of Missouri at Kansas City Conservatory.

Bahr has written a one-act opera (The Gift of the Magi), a choral symphony, a symphony for band, a flute concerto and other assorted works for orchestra, 20 chamber works, 15 piano preludes, 13 additional works for solo instruments, ten choral works, and 20 songs. His current project, Letters from Elbert, sets to music letters written by his grandfather while he was in the Navy during World War II.

Bahr is an active performer and is the bass section leader for the Opera Naples Chorus in Naples, FL. He has also served as the bass section leader for the First Presbyterian Church of Bonita Springs, the Fort Myers Symphonic Mastersingers and has sung with Gulfshore Opera among other groups.

A Kansas City native, Bahr is an avid fan of the Royals and Chiefs. He makes his home with his wife Rebecca and their cat Ray. SDG

Dr. Jason Bahr

Pinned to spotlight

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