A sample of my new work. A lullaby I wrote for my daughter, Chloe. Run-thru by UNT Wind Ensemble, Daniel Cook conducting.

Lullaby for Chloe - sample

A lullaby I wrote for my daughter, Chloe. Run-thru by UNT Wind Ensemble, Daniel Cook conducting.

Lullaby for Chloe

This work consists of five movements, each movement being roughly 2-3 minutes and incorporating a specific characteristic, hence one of the reasons for the choosing of its title, Divertimento. It was written for and dedicated to Nathan Mertens and the Resurgence Saxophone Quartet for their performance at the 2015 Regional NASA conference in Oklahoma. 


Program Notes borrowed from original work: 

The Prelude is the shortest movement, and quickly introduces all of the main themes of the piece. The main theme of this movement is a swift, rising scalar gesture heard immediately by the saxophones in the opening measures, whose interval range encompasses a minor 9th. Thus, the 9th, the simplified 2nd (the 9th being the compound interval of the 2nd), and the inverted 7th intervals play important roles in this work. This gesture returns in varied ways throughout the piece.

The Ballade Arioso, at its most basic, is a parody of the competing schools of thought that have pervaded the saxophone world in the past and whose opposing stigmas sometimes still continue to lurk today. It mocks the opposition by incorporating both elements of the French and American saxophone style into one short movement. The lurking staccato piano provides a serious aria-like feel as the saxophones sing its lyrical theme, introduced shortly in the Prelude now transformed into a “jazz ballade” style. 

The Scherzette, as can be perceived, is a short scherzo. Its thematic content also derives from the Prelude and is expanded on. The Trio section introduces a new theme, whose first four pitches play an important role in the Chorale. This movement borrows these four pitches and transforms it into a hymn-like theme in a “Bach-Chorale” style. Its form can be heard as a miniature “developing variations.” 

The Jubilee is a quick and spritely movement whose swift scalar gestures, as well as the return of nearly all the main themes from the inner movements, create strong ties with the Prelude. It encompasses an ABCBA arch form; this arch also describes to considerable extent the formal relation of each movement in the overall 5-movement work.

Divertimento For Piano And Saxophone Quartet

Tetelestai – Greek for “It is finished” – is supposedly the last word that Yahashua, the man Christians praise as Jesus Christ, spoke among the people of Jerusalem before his death. The nature of this word – in the perfect indicative mood of its verbal form teleō –suggests having completed an action that is both irreversible and infinite. Within the context Yahashua used, it meant that he perfectly fulfilled the demands of the Mosaic Law on behalf of his people, and that he took the punishment his people deserved and placed it onto his own shoulders by his death. The biblical account of the resurrection adds a rich meaning to the word tetelestai, that which not even death can undo what has been completed. 

Throughout this symphony, I attempted to capture images of how I interpret these series of biblical events. This is not a programmatic work because I am not retelling the story of this account. Rather, I am portraying images based on how this story makes me feel. The main body of the 1st movement portrays images of betrayal, despair, suffering, and death – which are how I interpret the crucifixion. This movement begins and ends with a linear theme in the horn representing a promise waiting to be fulfilled, which returns intimately later in the piece. The 2nd movement portrays images of conflict between two opposing forces, such as life vs. death or dark vs. light. This is how I interpret the war between heaven and sin since “in the beginning” up through Yahashua’s death. The 3rd movement is subdivided into two separate sections; it begins with a short Interlude, followed by the Finale. The Finale begins in a reflective mood and slowly intensifies toward a climactic conclusion that portrays images of victory and rebirth – which is how I interpret the resurrection. 

Because the music of this symphony portrays images rather than adhering to a strict narrative, it allows for a different interpretation of these images from each listener as he or she engages in a unique aural experience as the music unfolds. The listener brings forth their own life experiences and beliefs as to how they relate to the music that they are hearing, and how each listener relates to these images is based on those experiences or beliefs – whether it is suffering through the loss of a dear friend or loved one, which relates to the images associated in the 1st movement; personal obstacles or battles, relating to the 2nd movement; or a personal rebirth and reawakening, relating to the Finale. 

This work was written for Jerry Junkin to be performed by the University of Texas (UT) wind ensemble in November 23, 2014, and I have dedicated the piece to him and all the performers within this ensemble. It was written in loving memory of the recent death of the former beloved UT band director, Vincent R. DiNino, whose immense contributions will never be forgotten. A small en memoriam was also incorporated as a passing theme in the 3rd movement to my dear friend Dmitry Volkov, a brilliant young cellist who recently died at 26 of heart failure.

Tetelestai, world premiere

A La Machaut integrates thematic material from 3 works of the great Medieval composer Guillaume de Machaut and adds a colorfully modern touch. The piece opens with a slow introduction using melodic and harmonic material from his polyphonic chanson Puis qu’en oubli (“Since I am forgotten”). The upbeat percussion transitions the piece to the main material, quoting the melody of his secular virelai, Douce jame jolie (“Sweet lovely lady”). This piece also uses material from the Kyrie to Machaut’s Messe de Nostre Dame. A reflective middle section brings back the slow material from the introduction while maintaining the upbeat rhythms introduced earlier in the percussion. A short recapitulation revisits the virelai in several contrasting textures, leading to a climactic variation with shimmering winds, blasting percussion and low brass. A final tutti variation harmonizes the virelai and closes the piece. 

This piece contains strong pedagogical undertones; aside from introducing high-quality music from [nowadays] lesser-known composers to younger players, it allows numerous opportunities for brief discussions about aspects of Medieval music. 

The piece’s level of difficulty is ideal for intermediate and advanced high school wind bands/ensembles.

A La Machaut - Frost Symphonic Winds

Just when you thought you knew me... I'll just leave this here.

EDM Demo

It was December 2, 2015. Fourteen innocent souls perished on this day in San Bernardino, a day now remembered as one of the worst mass shootings of its time. Roughly twenty-two individuals were fortunate enough to recover from their physical wounds, but never forgetting what will perhaps have been their darkest hours. This incident marked the 352nd shooting of the 371 total US shootings that took place in 2015. 

The nature of this work taps into the traumatized minds of those individuals who live to tell of their survival from that day, and for those families who continue to weep over the loss of ones they adored. The work relives and embraces the realities of the agonizing grief and horror experienced during these incidents through sonic images carried out throughout the piece. A piercing and recurring blow by the percussion shatters our hopes of breaking away from this grim reality while the lurking oboe melody mourns the current state of affairs. The ensemble quietly enters with a heavy-hearted theme that is later interrupted by a fragmented and promising chant. As quickly as it entered, the chant disintegrates as the initial heavy theme returns in an overpowering statement. As these two main themes further develop along with the recurring percussion blows, we are met with a nostalgic, “tear drop” motive outlined in the piano, and the piece begins to build momentum. The chant breaks free with a powerful statement and the piece deceptively builds itself to a horrifying climax. From the wash of sound, the lurking oboe melody reemerges. The return of all the previous motives signal the piece’s conclusion. It is not until the very last pitch where a thread of “light” finally arises, signifying hope. This is significant, as one thread of hope is all it takes to make an significant and positive change.

Moments of Silence hauntingly voices the amassed concerns over violence with firearms, among other types of violence. It serves as a reminder to our entrusted lawmakers that doing nothing more than reflecting on each passing homicidal incident is not a viable solution. It serves as an in memoriam to the tens of thousands of American lives lost over related incidents each year. Finally, it serves as a vessel of hope to those inflicted families. To those who must wake up every day to the dark reality of losing someone they truly loved, this work is a statement that we are with you… that we will always be there for you – to mourn with you, to pick you up, and to stand tall as a community against those who mean to do us harm.  For the collective voices and actions of many will always outshine the evildoing of the few. Thus, this is our response to violence: to “make music more intensely, more beautifully, more devotedly than ever before,” using its raw emotional power to heal broken communities and restore faith in our seeking of a better future.
-quoted text by Leonard Bernstein-

Moments of Silence

NOTE: If you wish to purchase this work, please go to http://murphymusicpress.com/products/w-147

I was approached by Tom Dougherty to write a piece in memory of a good friend of his by the name of Vinny, a young charismatic man who had died in a coma in April 2014. Vinny, an emergency services manager and police officer, tirelessly committed his life to helping others. Upon hearing his remarkable story, I knew my writing a piece of music in his honor was inevitable, and that nothing was more appropriate than a soothing lullaby. Sound Asleep was the resulting work.

This work reflects on the qualities of life in an optimistic perspective, using a fundamentally tonal palette in achieving a calm and comforting message. It reverberates the nostalgic, and at times bittersweet, memories with friends and loved ones of whom we hold and/or have held dearest to us. Finally, it serves as a loving remembrance to those who have energized, inspired, and transformed the community around them to live more fruitful and meaningful lives.

Sound Asleep was written for Thomas Dougherty and the Jensen Beach High School Symphonic Band. It was written in loving memory of Vinny Bocchino, a man who lived to serve his community.

Composer - Andrew Boss
Conductor - Thomas Dougherty
Medium - Wind Ensemble
Grade - 3

Sound Asleep, for Wind Ensemble

Symphony No. 2 is a continuation of my exploration of more complex motivic and harmonic relationships within a freely unfolding musical structure. This symphony does not have a program or narrative associated with it. Continuous from start to finish, it is divided into three symbiotically dependent sections, similar to movements but without a pause in-between. The first section is slow and serves primarily as a prologue with pastoral undertones, introducing many of the primary motives that glue the work together. The second section is the heart of the work and features two energetic and contrasting theme groups. The music dies down into the third section, which restates ideas from the first section and slowly builds toward a climax. The music again eases and transitions into a short fast coda. Recapitulated elements from the second section bring the symphony to a resounding close.

The entire work is constructed from two primary melodic motives that develop and transform into larger and more complex phrases and theme groups as the piece progresses. The first motive is an ascending stepwise gesture introduced by the violins in the very beginning of the work. The second motive is a short, slightly more angular descending gesture.  Two separate rhythmic motives also play an important role in propelling continuous momentum throughout the work. 

Symphony No.2 was written for and dedicated to Gerhardt Zimmermann and the members of the University of Texas Symphony Orchestra.

Symphony No.2

The world premiere performance of In Adventu Finalem.

I. Perception

Jerry Junkin, conductor
Bradley Welch, organist
Dallas Winds

April 17, 2018, "Pipes and Drums."

I own the copyright to this recording and work.

In Adventu Finalem (1st mvmt)

The world premiere performance of In Adventu Finalem.

II. Prophecy

Jerry Junkin, conductor
Bradley Welch, organist
Dallas Winds

April 17, 2018, "Pipes and Drums."

I own the copyright to this recording and work.

In Adventu Finalem (2nd mvmt)

“This will be our reply to violence; to make music more intensely, more beautifully, more devotedly than ever before.”

Learn more about the composer and this work at: https://bossmusicstudios.com/wind-ensemble/#purchase

-Leonard Bernstein-

Until Morning Come

***If you wish to contact me or purchase my music, please use BOSSMUSICSTUDIOS.COM for all updated information***

The Music of Andrew Boss

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