The French Horn sonata was composed as a direct result of the creation of the horn concerto - "Sounds Awakened" - composed nearly at the same time.  A consortium of 7 horn players had come together to commission the concerto, and each was promised a new sonata as well - as a "bonus piece." I originally didn't think I would compose
the sonata for quite some time, but when the opportunity arose to have it premiered at the International Horn Symposium, I figured that would be a great opportunity for an interested audience! At that point, Haley Hoops and Charles "Skip" Snead signed on to be a part of the sonata consortium, with Haley presenting the premiere, to be held May 15, 2012, in Denton, TX.

The sonata is traditional in its fast-slow-fast three-movement format, and allows each of the equal partners ample opportunity to show their technique, depth of musicality and range of ability.
The 1st movement starts out with a 2-note motif, which becomes a cornerstone for the entire movement. The figure is turned around, or manipulated in other ways to inform many other aspects of the movement. The opening chord is also very important. First of all, if one looks at the RH of the piano and extracts the top note and bottom two notes (Bb, C and D), this becomes the motif for the Passacaglia figure repeated throughout the 2nd movement in the LH of the piano. And secondly, if all of the notes of the 1st measure are combined, it spells the Bb scale, with 2 notes missing: G and A. Throw another Bb on top of that and you have the inspiration for the first 3 notes of the solo horn part in the last movement. So, although the sonata is essentially in F, it is based
on the notes of the Bb scale. The last source of ideas came from Haley Hoops (the premiering horn soloist) herself, who at one point stated "I like 5ths". Thus, the last movement takes a lot of its inspiration from perfect 5ths.

I definitely want to take a moment to thank all of the horn players who contributed to this project. I am forever grateful that I was entrusted the task of creating these two new major works for the French Horn.

Jim Stephenson, May, 2012�

Sonata for French Horn/Piano - III.

Sonata for French Horn/Piano - II.

The French Horn sonata was composed as a direct result of the creation of the horn concerto - "Sounds Awakened" - composed nearly at the same time.  A consortium of 7 horn players had come together to commission the concerto, and each was promised a new sonata as well - as a "bonus piece." I originally didn't think I would compose
the sonata for quite some time, but when the opportunity arose to have it premiered at the International Horn Symposium, I figured that would be a great opportunity for an interested audience! At that point, Haley Hoops and Charles "Skip" Snead signed on to be a part of the sonata consortium, with Haley presenting the premiere, to be held May 15, 2012, in Denton, TX.

The sonata is traditional in its fast-slow-fast three-movement format, and allows each of the equal partners ample opportunity to show their technique, depth of musicality and range of ability.
The 1st movement starts out with a 2-note motif, which becomes a cornerstone for the entire movement. The figure is turned around, or manipulated in other ways to inform many other aspects of the movement. The opening chord is also very important. First of all, if one looks at the RH of the piano and extracts the top note and bottom two notes (Bb, C and D), this becomes the motif for the Passacaglia figure repeated throughout the 2nd movement in the LH of the piano. And secondly, if all of the notes of the 1st measure are combined, it spells the Bb scale, with 2 notes missing: G and A. Throw another Bb on top of that and you have the inspiration for the first 3 notes of the solo horn part in the last movement. So, although the sonata is essentially in F, it is based
on the notes of the Bb scale. The last source of ideas came from Haley Hoops (the premiering horn soloist) herself, who at one point stated "I like 5ths". Thus, the last movement takes a lot of its inspiration from perfect 5ths.

I definitely want to take a moment to thank all of the horn players who contributed to this project. I am forever grateful that I was entrusted the task of creating these two new major works for the French Horn.

Jim Stephenson, May, 2012�

Sonata for French Horn/Piano - I.

2nd movement of a chamber suite for violin, cello, clarinet, bassoon, trumpet and piano (same instrumentation as Martinu's "Revue de la cuisine"). Each movement comes from inspiration derived from phrases starting with Thinking...

II. Thinking - It Over

Final (5th) movement of a chamber suite for violin, cello, clarinet, bassoon, trumpet and piano (same instrumentation as Martinu's "Revue de la cuisine"). Each movement comes from inspiration derived from phrases starting with Thinking...

V. Thinking - Out Loud

4th movement of a chamber suite for violin, cello, clarinet, bassoon, trumpet and piano (same instrumentation as Martinu's "Revue de la cuisine"). Each movement comes from inspiration derived from phrases starting with Thinking...

IV. Thinking - Twice

To see score: http://issuu.com/stephensonmusic/docs/sing_along__america__-_full_score_f
Like my holiday sing-along, this patriotic medley is also modular (options for cuts between any song), and is scored to work for both large and small orchestras, and can use any type of chorus, or just audience sing-along. Songs in the medley include:
Yankee Doodle
Over There
Battle Hymn
My Country, 'Tis of Thee
You're a Grand Old Flag
God Bless America
When Johnny Comes Marching
America, the Beautiful

Sing Along, America

https://composerjim.com/works/unfrettered/
Premiered by Jared Waln, guitar; w/ Grand Symphonic Winds.
First, I must immediately thank Matthew George for this, our fifth, commission together. It's been an absolute joy to continue
the process of creating music together.
But a guitar concerto - with wind ensemble: wow, that's tough!!
Thank you also to Chris Kachian, for whom the concerto was composed, for his guidance and good spirit through the creation of this, and not laughing at me during some of my early attempts to write for his beautiful instrument.
I'd also like to thank Matt Cochran, guitar teacher at Interlochen Arts Academy, who chatted with me extensively and played many demonstrations for me during a visit there, while I sat merely 3 feet away absorbing the beautiful sounds he created.
Notes about the music:
The concerto is in three movements, with the first continuing segue, without break, into the second.
The first movement is a tarantella, accompanied at times by jazz-inspired bass lines and colorful accompaniment.
The second movement - the emotional heart of the concerto - was inspired by two sources:
First, I've always been inspired by text, and it occurred to me that I might borrow the rhythm of a Shakespeare sonnet (his most famous), and create a melodic line based solely on his rhythm. That is why the text is written into the score and parts, to show the text and how it is related. Secondly, it has been noted that this particular sonnet doesn't necessarily specify a man or a woman, and so I took the liberty of using it to address the love one might have for their father. My father suffered a stroke in June, 2019, and has been relegated to nursing-home care ever since. His memory has been seriously affected, and he often speaks with the occasional confused or nonsensical word interspersed within his sentences. That is why the guitar part at letter C has varied rhythm to accentuate someone
trying to get what should be a simple beautiful line across, but instead it is marred by quintuplets, or sextuplets, etc,
symbolizing a confused manner of delivery.
I emphasize the beauty, because many of my visits to my father have been that of me sitting very close to him, with him in a wheelchair,
and me in a chair close by, and I would be leaning over (much like a pose of a guitar player). These memories have turned a corner, and
have actually become quite beautiful in my brain, and something poignant, personal, and unique which he and I have shared on many
occasions. Lastly - Shakespeare's sonnet does mention the month of May, which is when dad celebrates his birthday.
The third movement is virtuosic, and has the special (optional) effect near the end of having the guitarist sing while playing. This is meant to seem somewhat reminiscent of the style of Pat Metheny, a guitarist I listened to constantly in my younger years It also brings back the melody of the sonnet, but now set in an uplifting manner.
Jim Stephenson; March 26, 2020

Grand Symphonic Winds - March 4, 2023 - House of Prayer Lutheran Church, Richfield

Unfrettered - mvmts 1-2

TO ORDER: https://www.stephensonmusic.com/product/american-fanfare/
2-minute uplifting and stirring opener for either half of a concert. Great for outdoor community events or the concert stage.
Originally composed for orchestra, Stephenson's American Fanfare has been played by the Cleveland Orchestra, at the Hollywood Bowl (LA Philharmonic), the symphonies of Detroit, Baltimore, Atlanta, Omaha, Dallas and Rochester Philharmonic among others.
Originally written for Erich Kunzel, and scored for winds at the request of Captain David Alpar.
Grade 4.5

American Fanfare, Concert Band

https://composerjim.com/works/kleiner-walzer/
María Teresa Gertrudis de Jesús Carreño García (December 22, 1853 – June 12, 1917) was a Venezuelan pianist, soprano, composer, and conductor. Over the course of her 54-year concert career, she became an internationally renowned virtuoso pianist and was often referred to as the “Valkyrie of the Piano”. Carreño was an early adopter of the works of one of her students, American composer and pianist Edward MacDowell (1860–1908) and premiered several of his compositions across the globe. She also frequently performed the works of Norwegian composer and pianist Edvard Grieg (1843–1907).
Carreño composed approximately 75 works for solo piano, voice and piano, choir and orchestra, and instrumental ensemble. Several composers dedicated their compositions to Carreño, including Amy Beach (Piano Concerto in C-sharp minor) and Edward MacDowell (Piano Concerto No. 2).

James M. Stephenson (b. February 4, 1969) has a multi-faceted career as composer, arranger, conductor, and educator.
He has written more than 300 original works, and over 100 arrangements. He has written for many types of instrumentations, including major orchestras, ballet companies, wind ensembles and soloists.

Recorded by Southeastern Louisiana University wind ensemble; Robert Schwartz, director.

Kleiner Walzer (Carreño/Stephenson)

Ray Cramer, conducting

https://composerjim.com/works/symphony-no-4/

I. Allegro tempestuoso
II. Adagietto
III. Scherzo
IV. Theme and Variations

Program Notes (by the composer):

In late 2022, I was approached by Tom Riccobono to compose a new work for the adults who performed as part of the Interlochen College of Creative Arts, and to be premiered the following August. We discussed many ideas, mostly surrounding an exciting 5-8 minute work. At some point during the conversation, I mentioned that I really preferred digging into larger scale works. Tom also seemed excited by that concept, and before we knew it, the idea became a reality, and my Symphony No. 4 was to be born. There was just one caveat: I told Tom to be patient with me, as I wouldn’t even be able to begin working on such a piece until the summer of 2023, and would have to deliver it just a month before the premiere. Never one to back down, Tom agreed, and the project was in my hands to deliver.

Anything created for Interlochen takes on special meaning for me.

I was a camper there first at the age of 10, and then attended three years of high school, and then even two summers teaching scattered in as well. I’ve written several works for various occasions there as well. So, to put it mildly, Interlochen has been a huge part of my life.
In writing this piece, I reflected back upon my earliest memories of attending camp. I recall showing up for one of my first orchestra rehearsals, and Gliere’s “Russian Sailors Dance” being put on our stands, and then us little bunch of 10 year-olds eagerly clawing our way through this unknown music. I remember loving my trumpet part, and thinking to myself: “This piece rocks!”. I was hooked, and have never looked back.
Away from the music part, I also clearly remember showing up in my cabin, the very first day – not at all knowing anyone – and fellow camper Hank Hauke asking me if I wanted to play tennis. I quickly abandoned my parents to do the unpacking, and I ran to the courts. Again, I was hooked. Therefore, in starting this piece, I wanted to capture that excitement: that eagerness (featuring trumpets, of course), and the mystery and youthful anticipation of a new world being discovered. The first movement’s opening melody is childlike and mischievous (like I was), with an unending drive from beginning to end.
The 2nd movement shows more of the reverence that grew within me for the place I continued to return to. It uses a recurring theme, growing and growing, with sustained anticipation of something wonderful happening. It is also distinctly American sounding.
The 3rd movement scherzo is simply nothing but fun.
The 4th movement is where we return to the Gliere inspiration of my 10 year-old self. I decided to copy his idea of a Theme and Variations though mine uses an original, almost funereal theme (no metaphor intended), where each variation gets just a bit more and more exciting, until we finally “rock out”, with themes and variations all occurring simultaneously in large fashion. One thing to be noted: upon doing research AFTER I finished my work, I discovered that Gliere and I both used the same amount – 12 – of variations on our themes. It’s almost as if Interlochen is still working its magic…

Thank you so much to Tom Riccobono for joining me in this adventure. Thank you to Interlochen for assisting in its coming to fruition. And thank you ever so much to the donor – also a trumpet player! – who supporting the creation of this work, of which I am very proud.

~ Jim Stephenson; July 9, 2023

2023 Musashino Academia Musicae Wind Ensemble Concert

Stephenson: Symphony no.4 - mvmt 4

Stephenson: Symphony no.4 - mvmt 3

Stephenson: Symphony no.4 - mvmt 2

Stephenson: Symphony no.4 - mvmt 1

ComposerJim.com
I was asked to write a new work to celebrate Warren Olfert's retirement from North Dakota State University after 25 years. Warren expressed to me that he'd like to have a tone poem, as there aren't many in the wind ensemble repertory. Warren also made the "mistake" roughly 10 years ago of mentioning to me that he loved the music of Genesis. He even sent me a bunch of links; I never knew they might come in handy until 10 years later, when I decided to create a "Genesis tone poem" for him.
More about Genesis: It also means "to start anew".
Anyone who knows Warren knows that retirement will not slow him down. He will make (very good!) beer. He will travel. He will cook. He will continue in music, no doubt. 
So the piece starts out as if in a world of solemn but hopeful exploration. A three-note theme comes in played by the trombones (Warren's instrument). This leitmotif is repeated throughout the piece - little sprinkles of Warren showing up in each tune as we roll along.
Genesis the band - in the early 1970s - was basically creating tone poems. One tune was strung to the next as Peter Gabriel did his thing, changing clothes, changing meters, and singing ballads, resulting in epic rock tunes springing forth. So I tried to create a piece that did the same thing. One tune follows the next, resulting in a journey of exploration (with the occasional backbeat), but all hopefully culminating in a beautiful celebration of Warren. 
I hope you enjoy it - and to Warren: Congratulations on your fabulous career! I can't wait to hear of your new adventures as you start anew.

Genesis - for wind ensemble: NDSU Premiere

https://composerjim.com/product/fantasie-for-trumpet/

In the Spring of 2005, while Paul was visiting me in Florida, we finally solidified a long- discussed idea of a new composition for him to premiere. Paul and I have known one another since our childhood days in the Chicago area, and so the opportunity to compose something for him is nothing less than a true joy and true honor.
He initiated the idea that the piece should pay homage to one of the long-time greats in the trumpet world, Timofei Dokshizer, who had recently passed. Growing up as a trumpeter myself, Dokshizer had a great impact on my musical development, and, in fact I was given several of his albums by one of my first trumpet teachers, Peter Labella, who had died several years before, and much too young.
The piece, then, is a tribute on many levels. First to my friend, Paul, who is a constant source of inspiration and character. It is, of course, dedicated to Mr. Dokshizer, whose impact on the trumpet and music world, and my early love of the trumpet, is immeasurable. It also is written with remembrance to Mr. Labella, who had the insight to recognize my love of music, and gave me his depth of knowledge that has stayed with me to this day.
When Paul first mentioned the idea of writing the tribute piece, I was immediately struck with ideas on how to construct the piece. I wanted to write a piece that would be reminiscent of the old recordings: the concert waltzes, scherzos and dances that he played so touchingly and delicately, yet with his inimitable Russian flair. I wanted to step back, and not try to produce sounds no one has ever heard before, but yet to create something that sounded as if it has always been there; something where the audience could just sit back, relax, enjoy, and give thanks to the legacy of the great musical mastery of Timofei Dokshizer.
James Stephenson June, 2005

Fantasie for trumpet and piano

https://composerjim.com/product/awakenings/

Two trumpets and organ.
In 2011, I was approached by David Dash, 2nd/assistant trumpet of the Naples Philharmonic, to write a new work for him and his wife, Mary Bowden, as a feature for the two of them to play with organ. This was an especially fun situation, because Dave was my successor in the orchestra, where I had performed for 17 seasons. In addition to that, Mary has performed many of my works, and she currently holds a position as 2nd trumpet in the Des Moines Metro Opera, a position I also once held! “Awakenings” is a study in different timbres and sounds utilizing the trumpets and organ. The first movement is in a toccata style, while employing the common bravura associated with trumpets and organ. The 2nd movement uses flugelhorns (as well as trumpet) to expose the lyrical possibilities.
The 3rd movement is unique, in that it explores a jazzier side of the organ (walking bass line) while the trumpets perform with cup mutes. And lastly, the 4th movement is a flourish of piccolo trumpets in technical virtuosic lines, passing from one to another – almost as a modern tribute to Vivaldi, who composed perhaps the most famous of duo concertos for trumpets/organ.
Many thanks go to Millicent Marshall, who commissioned the work in memory of her husband, Charles. I am forever grateful to her for her support of the trumpet and for works written for the instrument. Also, my appreciation to longtime friend Jim Cochran, who premiered the work with Mary and Dave. And of course, thank you Dave, for the idea, and to Mary as well, for your brilliant playing and efforts in the creation of this work.
Jim Stephenson, 2012

Awakenings

Awakenings: IV. "Dash"-in'

Awakenings: III. Walkin'

Awakenings: II. Passacaglia

Awakenings: I. Awakenings

https://composerjim.com/product/a-little-rr/
Notes from the composer:
I have been fortunate to have composed several works for Richard Stoelzel and Rex Richardson individually, but none for both of them to perform together. So when the call came to write a new work to feature the both of them, I was more than delighted to give it a shot.
"A Little R&R" (title suggested by Rich Stoelzel - more on that later...) is a little 10 minute "concertino" to highlight those qualities at which the two of them excel. It features technical "licks", flugelhorn lyricism, soaring "big moments", and piccolo trumpet wizardry as well. It also allows for some improvised call/response, to highlight the crossover necessities for many trumpet soloists in today's era.
Upon commencing this piece, I was unsure what title to give it. I received many suggestions, but once Rich suggested "A Little R&R", I knew I had a winner. The "R's" refer to the first names of the soloists, of course, but Rich's suggestion is all the more significant, given that that is exactly what he will deserve after hosting and performing in the international trumpet conference (ITG), for which this piece was written.

Under Western Skies

A Little R And R

https://composerjim.com/product/artfelt/
Program Notes - by the composer --
Artfelt was a commission from the Rembrandt Chamber Players, to be in tribute to their longtime friend Sandi Miller. Because Sandi was an artist, it was decided that the work should be based upon a "signature painting" that she had created. The cover page is that painting.
About the music --
At first glance, the painting appears abstract, and so I knew I wanted the piece to have an abstract quality to it. But the painting is also quite beautiful (in my opinion), and therefore I knew I also wanted to represent that quality as best I could. Sandi herself, in her personal artist's statement said:
"My work is spontaneous expression... to me, color dictates the mood, the direction, and the passion as it relates to everything around it. I work with balance and contrast, harmony and tension: all of these color the way I see, and serve as a direction in my work."
After studying the painting for a while, an image began to appear to me that I could not ignore. I can't see the painting anymore without seeing this image. Therefore, I knew I had to try to capture that image musically. Visually, I see a family of animals: specifically, cows. The gray
shape is the mother cow. She is standing, facing to the viewer's right. Standing next to her, (behind, from the viewer's perspective) is the bull - represented with the much larger red head. Finally, the calf, standing beneath the mother - perhaps nursing - is represented lower right in the painting, and has the most vivid and active colors. It almost appears as if the little tail is wagging, showing excitement and energy.
I first wanted to capture this youthful energy with a playful opening flute cadenza. The leader of the RCP, Sandie Morgan, is a flute player, and she is the one who approached me about this commission after hearing my piccolo sonata premiered. Being a playful instrument, I used the
flute throughout to represent the calf, first at the opening, and then darting in and out of the texture, almost like a young calf trying to gain its parents attention. The strings and RH of the piano represent brush strokes for most of the piece. Because the painted brush strokes are visible, and not exact/defined, the scored brush strokes are rhythmically ambiguous, and are written to represent different pressures and speeds of application. The oboe pairs with the LH of the piano, and other instruments, to represent the artist standing back and viewing the beauty and seriousness of the painting as a whole. In other words, while there is much activity and color in the work, there is a calmness and beauty to it when taken as a whole. Finally, nearing the end, the entire ensemble joins in to proudly celebrate a completed piece of art, before adding just a few final brush strokes (our artistic work is never done) as touch-up.
My main goal of the work was to celebrate the beauty of another artist. All of Sandi's paintings that I looked at were quite stunning, and were inspirational to me musically.
This piece is entirely about Sandi - it is truly heartfelt, except I wanted to remove the "he" to make sure it was all about her; therefore: "Artfelt".

Artfelt - Rembrandt Chamber players

Celebration Overture (1999)
https://composerjim.com/works/celebration-overture/

for chamber orchestra
duration: 10’

Written in celebration of the 48th Anniversary season of the Chicago Chamber Orchestra, Edward Benyas, conductor
Premiered in September of 1999

Program Notes: [Original program notes were lost, so these notes were written over 10 years later]

In the fall of 1999, I was contacted by my good friend Edward Benyas, with a request to compose a new work to celebrate the 48th anniversary of the Chicago Chamber Orchestra, for a concert he would be conducting. There are three things that pop up in my head when I think back to his requests during our phone conversation.

1) The piece needed to be completed in roughly 2 weeks, 2) please feature the timpanist, and 3) really? a piece to celebrate the 48th anniversary?
The first request needs very little explanation – it was hard and furious work, but was completed on time. I have very fond memories of sitting on the porch of a cabin in Northern Michigan, overlooking a lake, while writing this work.

The second request was amusing to me. The timpanist for the concert was also a mutual friend, and it was already known that in order to play the concert, he would be driving hours from one gig, unloading timpani, then driving elsewhere, playing another job, then driving back to the first, playing, reloading timpani, etc… In other words, could I please reward him with a good part for all of the extra hassles he’d be going through just to play the concert.

The 3rd request, once I got over the initial why’s and really’s, presented a rather fun challenge and inspiration. Puns and symbolism have always been a part of my “game” when writing music, and so I took advantage of whatever I could with the number 48 (or 48th) when composing this piece. For example, the piece opens with a flurry of 40 eighth-notes in the strings (I was going to go for 48 notes, but it didn’t work, so I settled for forty 8th notes instead). Additionally, the harmonic structure of the piece is almost entirely built upon a minor 7th chord; this is because when one counts up 4 semi-tones from the root of the chord, and then another 8, the resulting notes spell out most of a minor 7th chord. [Example: C up to E-flat, and then again up to B-flat]. Lastly, the one of the main themes is a very catchy tune written to the time signature of 4/8.
Of course, all of the games and symbolism are fruitless unless the piece stands on its own musically. This is first and foremost with every piece I write, and I am pleased to say that this piece was a joy and honor to compose, and to present to the Chicago Chamber Orchestra for its premiere that September of 1999.

I was unable to make the premiere concert, but I am told that the timpanist was in rare form when performing the piece!

On March 4-5, 2011, the piece was performed by the Lake Forest Symphony, under the direction of Alan Heatherington, as an “honorary re-dedication” to the city of Lake Forest, IL, in recognition of the 150th anniversary of the city.

Jim Stephenson, August, 2010

Celebration Overture

Winter Wonderland

A Holly and Jolly Sing Along

More info here:
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Dodecafecta (2010)

for solo brass quintet and wind ensemble

duration:  16’

Special thanks to Jacob Cameron, of Spectrum Brass, who spearheaded the 14-member consortium in the commissioning of Dodecafecta. The consortium members include:

Baylor, Eastman, Grand Valley State University, Michigan State University, Northwestern University, University of Michigan, University of South Carolina, University of Wisconsin, Western Michigan University, Texas A&M University-Corpus Christi, Del Mar College, University of Alabama, Lawrence University, Towson University

The premiere took place on December 16, 2010, at the Midwest Clinic in Chicago, with Matthew George conducting the Grand Symphonic Winds.

Notes from the composer:

“Dodecafecta” is derived from combining “Dodeca” – the Greek prefix for 12 – and “Trifecta” – which is the fortuitous phenomenon of a good result coming in threes. At the outset of this project, Jacob Cameron, the leader of Spectrum Brass, envisioned a consortium of 12 collegiate schools coming together to commission a new concerto for brass quintet and wind ensemble from me. When the project became a reality, I was immediately struck with idea of writing a fanciful, almost circus-like piece, with non-stop energy throughout. That, in essence, is the first movement: 8 minutes of driving rhythms and colorful orchestration. The 2nd movement provides a break from the others: more serious in nature, with more lyrical solo passages and a chorale-like figure. The last movement returns to the mixed-meter, wild, and celebratory nature of the 1st movement, bringing Dodecafecta to its energetic close.

Ironically, after the piece was already entitled (at least in my head), two more schools were added. Since I didn’t know the Greek prefix for 14, I left the title alone.

Dodecafecta - Mvmt - 1

More info here:
http://www.stephensonmusic.com/product/holiday-fanfare-medley/

Holiday Fanfare Medley (2010)

for concert band
duration:  6’

 Medley includes:

Il est Ne, le Divin Enfant
Bring a Torch, Jeanette, Isabella
We Three Kings
Pat-A-Pan
Good King, Wenceslas

Holiday Fanfare for Concert Band

Playback file and more info here:
http://www.stephensonmusic.com/product/smittys-aweigh-overture/

‘Smitty’s Aweigh’ Overture

for concert band
duration: 3’

Commissioned by the Salisbury Community Band and dedicated to Dr. Charles F. Smith, to commemorate his retirement after nearly 40 years of service as Band Director.
Premiered July 31, 2011

Program Notes
In the spring of 2011, I was contacted by Pat Shaner, trumpet player and member of the Salisbury (MD) Community Band, to entertain the idea of writing a new work to celebrate the retirement of Dr. Charles F. Smith. The piece would be premiered on July 31, his final concert, and would be a surprise gift to him a week earlier, on July 24. Dr. Smith had been Band Director for 35 years, and a percussionist in the group for an additional 3 years while working on his doctoral degree.
Not knowing Dr. Smith personally, I still wanted to compose a celebratory piece that would have direct ties to his life and career with the band. A quick read of his biography on the band’s webpage led me to some inspiration.
The main theme of ‘Smitty’s Aweigh’ Overture stems from the Alma Mater of Dr. Smith’s undergraduate school, Southeastern Louisiana State College. The original tune is rather drawn out, but when transformed into an up-tempo march, it becomes quite jaunty indeed. The secondary theme comes from his graduate school, The Catholic University of America. Again, I simply sped up the original, and it provided for a nice contrasting and lyrical counterpoint to the first theme.
Sadly, I did not have space to include any reference to his doctoral school, the University of Maryland at College Park, but the whole work is sprinkled with hints to one of his most important connections, the US Navy. There are many quotes – sometimes obvious, sometimes not – from Anchors Aweigh, the fight song of the United States Naval Academy.
All in all, I thought that the best tribute to Dr. Smith – someone who has devoted almost 4 decades to the concert band – might be a work that would hopefully possess the qualities to become a future staple in the band repertoire. And so ‘Smitty’s Aweigh Overture (‘Smitty’ is a nickname from his wife), even with all of its symbolic references to Dr. Smith’s education and career, is written in a manner that combines many iconic sounds and styles, so as to be immediately both familiar and refreshing simultaneously.

Lastly, since Pat Shaner was responsible for this new work, I wanted to make sure there was a good trumpet part!
Jim Stephenson June 23, 2011

Smitty's Aweigh Overture

More info here:
http://www.stephensonmusic.com/product/holidayoverture/

Medley includes: Deck the Hall, Oy, Chanukah, I have A Little Dreydl,
O Christmas Tree, Away in a Manger, Jingle Bells, Up On the House- Top, Good King, Wenceslas

Holiday Overture

TAPS - as arranged for solo trombone and trombone ensemble.
Performed here by Charles Vernon and the Brevard trombone choir/alumni.
Created in memory of Bill Zehfuss.

Taps - solo trombone and trombone ensemble

'Tributes' Violin concerto, by James M. Stephenson.
Premiered by Jennifer Frautschi, with the Minnesota Orchestra/Osmo Vanska. April 11-14, 2012.

Stephenson - Tributes concerto for Violin and Orchestra

https://composerjim.com/works/in-the-moment-too/

In the Moment Too
for concert band

Commissioned by Downers Grove South HS Wind Ensemble; Craig Alan Roselieb, director

duration: 6′
􏰐􏰓􏰈􏰍􏰎􏰝􏰒
􏰫The music:

First – to set the stage for why this piece is composed as it is, perhaps it is best to quote the words of Craig Roselieb (for whom it is dedicated). Craig writes:

“We all as music educators, myself included after 33 years, are still searching for ways to keep students engaged in moments of music making.  With all of life’s distractions, ie. social media, racial and political tension, and the average pressure put on high school students to produce good grades, high test scores and AP credits, it is increasingly difficult to keep music making as a priority in our daily lives.  I am grateful, as are the many different music students in our school, that we have 50 minutes each day to pull ourselves out of the pressures and distractions of our environment, and create musical moments together.  The true blessing of being a music teacher for so many years is that each day has at least one of these moments, and these are what keep us coming back to work each day for more.”

     I wrote another piece first (“In the Moment”), and decided I needed to add this one. I just wanted to write something beautiful.

Jim Stephenson; May 4, 2018

instrumentation:

2 flutes, 2 oboes, 2 bassoons, 3 Bb clarinets, bass clarinet
saxophones: 2 altos, tenor, baritone
2 Bb trumpets, 2 french horns, 2 trombones, bass trombone, euphonium, tuba
timpani, double bass
percussion (5 players):
􏰖􏰝􏰇􏰌􏰮􏰅􏰁􏰒􏰪􏰑􏰅􏰝􏰢Glockenspiel
Chimes
Marimba
Cymbals (suspended a2)
Bass Drum

In The Moment Too

3rd movement of a 5-movement suite, entitled "Thinking" - for vln, cello, piano, bassoon, clarinet and trumpet

III. Thinking - About What Was

1st movement of a 5-movement suite, entitled "Thinking" - for vln, cello, piano, bassoon, clarinet and trumpet

I. Thinking - Outside the Box

2nd movement of Concerto #1 for Trumpet. Jeffrey Work, soloist. Score may be viewed here: http://issuu.com/stephensonmusic/docs/trumpet_concerto_score_final_-_issu

Concerto #1 for Trumpet - II (10-20)

The first movement of Jim Stephenson's Concerto #1 for Trumpet. Jeffrey Work, soloist. Score may be viewed here: http://issuu.com/stephensonmusic/docs/trumpet_concerto_score_final_-_issu

Concerto #1 for Trumpet - I (10 20)

Gail Williams plays the end of the Stephenson Horn Sonata, accompanied by her dog Reilly.

Gail and Reilly

An orchestral fanfare - composed to hint at the sounds of John Williams and John Philip Sousa - merged into one.
Now has a concert band version as well. Order here: https://composerjim.com/works/stars-and-stripes-fanfare/

Stars and Stripes Fanfare

all your favorite Christmas tunes, mashed up into one Charleston.
There is now a concert band version as well.

Charleston Christmas

an original Christmas classic. Tells the story of how Mrs. Santa wishes her husband would just stay home from "work" one of these Christmas Eves'. An up-tempo jazzy, toe-tapping chart. For solo female vocalist and orchestra.

Original lyrics:
HOT SANTA
Words and Music by James M. Stephenson
Santa won't you stay, I just wanna say, 
Please don't go, Come on, don't you know, I need you here tonight...
Can't you see it's cold, And I'm gettin' old, 
There's a comin' storm Who'll keep me warm By the firelight...?
You work the whole night through 
There's nothing elves can't do 
I'm waitin' here for you right by my side!

All the other suits, They don't give a hoot! 
All the other men They're in bed by ten. They don't ever leave
All the other wives Have 'em home at five 
All the other chicks, they all get their Nicks On this special Eve.
You had me say "I do" 
A 'clause' for me and you 
I've got a gift for two: our own sleigh-ride!

Please don’t leave me here. 
You always disappear. 
I wanna be your dear 
Even with the snow
you melt me, you know. 
Why ya wanna go?

Hey, Hot Santa! Stay, Hot Santa! Don't stray, Hot Santa!
Yo, Hot Santa! Whoa, Hot Santa! Ho, Ho, Hot Santa!

Black boots, red suit, Long white beard. 
Cherry nose, face that glows, Full of cheer. 
White felt, tight belt, Nine chauffeurs. 
Fancy ride, right outside. Great career!

Your eyes always shine. You laugh all the time. So happy you're mine! 
You make people smile, With gifts all the while, Oh, what style!
Hey, don't you go. It's starting to snow. Oh, boy, don't you know? 
My heart's all a tingle As your Mrs. Kringle You wanna be single!!??

Hey, Hot Santa! Stay, Hot Santa! Don't stray, Hot Santa!
Yo, Hot Santa! Whoa, Hot Santa! Ho, Ho, Hot Santa! (REPEAT)

Santa won’t you stay, I just wanna say, I need you here tonight. 
There’s a comin’ storm, Who’ll keep me warm By the firelight?
Santa baby, I'm all crazy 
Please say maybe. Don't you play me!

Hey, Hot Santa! Stay, Hot Santa! Don't stray, Hot Santa!
Yo, Hot Santa! Whoa, Hot Santa! Ho, Ho, Hot Santa! (REPEAT)

Stay here, leave those reindeer, maybe, baby please. Don't go!

James M. Stephenson

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