Instrumentals

LIVE performance from historic Hill Auditorium in Ann Arbor. 

This performance features the McIver Quartet [Marjorie Bagley and Katherine McLin, violins, Scott Rawls, viola and Alexander Ezerman, cello] and the University of Michigan Symphony Band with Michael Haithcock, conducting.

Short Stories is a string quartet concerto commissioned by the University of North Carolina at Greensboro, The University of Michigan, The University of Texas, Northwestern University and the University of Colorado and dedicated to Kevin Geraldi.

Approximately 21 minutes long and scored for string quartet, winds and percussion.

View perusal score here: joelpuckett.com/Puckett_Short_Stories_perusal
Part I:

1.	Somewhere near the end [tutti]
2.	Introit [quartet]
3.	The Priests [viola and cello duet]

Part II:

4.	Recitative [quartet]
5.	mother and child [violin duet]

Part III:

6.	sonno agitato [ensemble alone]
7.	The Bridge [cadenza] [quartet]
8.	Ma Fin [tutti]

Program Note

“There will come a time when you believe everything is finished;
that will be the beginning.”

— Louis L’Amour, Lonely on the Mountain

What makes the construct of the short story itself so unique among other literary devices is the demands placed on the author to create a meaningful narrative. They must describe the relationships between characters, present a conflict, and resolve it in a remarkably short span. It takes a deft writer to cleverly craft within these restrictions, and yet some have pushed the genre further by creating collections of stories that seem at first disparate, but eventually are revealed to be intertwined. Much like these painstakingly crafted works of literature, Joel Puckett’s Short Stories is a study in structure. On the surface, it bears the appearance of eight vignettes strung together into a concerto for solo string quartet and wind ensemble. Upon listening, however, the work’s movements reveal themselves as inextricably linked through a layered thematic language that plays out through a sort of “game of pairs.”

The external movements of the work serve as a frame story, not unlike Chuck Palahniuk’s novel Haunted, which the composer cites as an influential on the structure of the work. Between the external movements, Puckett presents three pairs of linked movements. Each of these sections highlights two of the solo voices, featured at the section’s conclusion with a virtuosic duo cadenza. The final internal grouping—the sixth and seventh movements—takes the independent duo cadenzas and superimposes them. It is only at this climactic moment that we hear that the concerto’s primary theme—the basis for both the first and last movements—is the combination of the elements within these cadenzas. In a sense, the entire work evolves from the constituent solo playing of its stars.

The opening—amusingly titled “Somewhere near the end”—introduces the notion of pairs in its own way. There is diametric conflict between both the soloists and the ensemble as, until the end of the movement, the two groups play almost exclusively in isolation. The harmonic language likewise poses friction, first hinting at the unbridled optimism of D major, and almost immediately thereafter shattering it with a tempestuous dissonance of extended harmonies in G minor. The effect is that of a series of dramatic wailings that set the stage for the players.

The first internal section, comprising the movements “Introit” and “The Priests,” is based on ancient liturgical materials. The introit itself is a part of the Proper of the Catholic mass, and this placid movement also presents a part of the Mass’ Ordinary by way of a “Kyrie,” passed from instrument to instrument in the movement’s center. The dramatic beginning of “The Priests” is a stark contrast with its bold chorale scored solely for brass and saxophones, and the rhythmic ostinato from the low strings (“Regina Coeli”: a reference to the antiphon to the Virgin Mary). Complex mixed meters dominate the pulse as a punchy homophonic accompaniment supports the vivid rhythms of the soloists.

The contrasting middle pairing (“Recitative” and “mother and child”) has a basis in Baroque opera, modeling a recitative and aria. “Recitative” serves mostly as an introduction, with a sparse accompaniment of vibraphone, celesta, and harp. The opening of “mother and child” expands the instrumentation to include the woodwinds and horns, dancing about gracefully with a patient, yet lilting tempo. This middle section is the longest single segment of the piece, and harmonically the most static, as it floats past slowly in a cloudy, dreamlike E-flat major. The gentle caress of the violin duet is both captivating and endearing throughout.

The tonal center of E-flat remains for the sixth movement, but little else is held as the pleasant dream of the middle section is roused by “sonno agitato”—literally, “restless sleep.” This movement, solely for the ripieno, harkens back to the most tumultuous moments of the first movement. The pulse quickens unrelentingly and the ensemble spills over, out of control, into “The Bridge,” a cadenza for the concertino. Here the previous duo cadenzas are pressed into conflict with each other in a manner that seems incompatible and dissonant. As the soloists play together, however, the argument between them is sated and they begin to find a synergy in their florid and virtuosic variations. The energetic realization of the work’s opening motive ushers in the ebullient “Ma Fin” (a nod to Machaut’s rondeau “Ma fin est mon commencement”—literally, “my beginning is my end”). This finale starts with a return to the first movement, but this time, the soloists come together as one and, with a battering of thirty-second notes, breaks through the restlessness of the ensemble and forces them back on track into the brilliant opening, finally moving together toward their happily ever afters.

—Jacob Wallace

Short Stories [string quartet concerto] UMICH LIVE

The original Juilliard version from 1996. For triple string quartet.

Tree

Middle movement excerpt from the viola sonata 'Deep Sky Blue', from Deubner-Fauchet Duo's soon-to-be-released CD.
Brett Deubner, viola | Caroline Fauchet, piano

Deep Sky Blue - ii. Simply

Performed by the U.S. Marine Band on Feb. 2, 2014 at Rachel M. Schlesinger Concert Hall and Arts Center in Alexandria, VA
Maj. Jason K. Fettig, conducting
http://www.marineband.marines.mil/AudioResources/WebExclusives.aspx#newmusic
©2003 OK Feel Good Music

Chunk

Cloudburst (Wind Symphony Transcription)

Piano concerto no. 16 in D major, k. 451

I. Allegro assai

Dédicace à ma Maman---Dedication to my Mom---

Ave Helena

Experience the rhythmic pulse of **Spring Movement Suit**, a vibrant collection of over 30 tracks curated by Century One Records. This is more than just an album; it’s an auditory journey designed to awaken the senses and stir the soul. Each piece has been hand-picked to inspire and energize, creating a seamless flow of sound that captures the essence of renewal and creativity.

Perfect for any **music lover**, Spring Movement Suit offers a diverse range of genres and moods, all unified by a powerful and uplifting spirit. Whether you’re seeking a new soundtrack for your daily routine or a wellspring of inspiration, this record is a testament to the universal language of music.

Sping movement 20

Deceptively simple song with some really subtle but incredibly well done harmonies (hint: the bridge).

Addictive Keys VST layered with Korg Kross' Analog Strings Pad!

Video Performance @ https://www.youtube.com/watch?v=lMYNvFJm9vE
Thumbnail Credit: i.ytimg.com/vi/k01vvPWvurs/maxresdefault.jpg

王力宏 (Wang LeeHom) - 你的愛  (Your Love) [Piano Cover]

Tous Les Matins Du Monde - Bande Originale Du Film

Improvisations Sur Les Folies D'Espagne (extraits) (Marin Marais)

Buster

Luster

Haze

I started playing the piano back in 2015 (self-taught) and I feel i'm at a level where I can start sharing my ideas. So this song is one of those. Inspired by one of my big idols, Nils Frahm. He is the reason why I started playing in the first place, so be sure to look him up bc he really knows what he's doing! 

Enjoy!

Kabat Zinn

New England Conservatory students Zenas Hsu, Yina Tong, Livan perform Tchaikovsky's Trio for Piano and Strings in A minor, Op. 50. Recroded live in Jordan Hall, Boston, February 14, 2013

Tchaikovsky: Trio for Piano and Strings in A minor - Variazione VIII  Fuga

Northwestern University Symphonic Wind Ensemble
conducted by Dr. Mallory Thompson
Pick-Staiger Concert Hall, Evanston IL
April 19, 2013

Symphony No. 1, My Hands Are a City

"Whitacre is that rare thing, a modern composer who is both popular and original"
- The Daily Telegraph, London

Eric has inspired millions as composer, conductor, innovator, broadcaster and charismatic public speaker. His compositions rank among the most popular and frequently performed of the early 21st century, their reach broadened since 2010 by the extraordinary success of his online Virtual Choir project. Light & Gold, his first album as composer and conductor, won the 2012 Grammy® Award for Best Choral Recording and instantly topped the US and UK classical album charts.

Born in Nevada, he discovered a passion for choral music while studying at UNLV and he began composing soon after. He went on to study at the Juilliard School of Music in New York under John Corigliano. Many of his choral compositions, Cloudburst, Lux Aurumque and Sleep among them, have entered the standard choral repertoire and his orchestral music has been performed by some of the world’s most distinguished orchestras both sides of the Atlantic. Eric is currently Composer-in-Residence at Sidney Sussex College, Cambridge University, UK.

A distinguished speaker, Eric has been invited to address the UN Leaders Programme, give the closing plenary at Davos World Economic Forum and to speak for UNICEF and Google among others. He has appeared twice on the main stage at the global TED conference in Long Beach CA, earning standing ovations on both occasions. Recent Virtual Choir projects include ‘Glow’ written for the Winter Dreams holiday show at Disneyland© Adventure California and the Virtual Youth Choir, in association with UNICEF, which premiered at the Glasgow 2014 Commonwealth Games. Broadcast live to 119 countries worldwide, Eric made his iTunes Festival debut with his professional choir in 2014, inviting multi award-winning composer and conductor Hans Zimmer to join him on stage. The performance was consequently released as a live album. Eric returned to the Minnesota Orchestra for a second residency in 2015 culminating in three performances at Orchestra Hall.


Cloudburst (Wind Symphony Transcription)

ericwhitacre

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