very moving setting of a poignant lyric....  nice job james...

Performed on March 7, 2014, by the Northwestern University Contemporary Music Ensemble, conducted by Eli Chen.
The title Come prima is a standard Italian musical indication which means "as before" or "like the beginning." In this piece, the term applies to the work's literal structure: the opening section is reprised at the end, albeit in a notably altered and abbreviated fashion. The title also refers to something more philosophical: many pieces, which purport to express conflict or struggle, emphasize a process of transformation. In Come prima, I felt inspired to explore that which keeps a person in crisis grounded, or centered—what remains constant, what one can hold onto throughout the crisis which lends stability and strength. Most of the harmony in Come prima is derived from the opening chord of the last movement of Mahler's First Symphony, which Mahler called "an outburst of despair from a deeply wounded heart." Mahler's chord is first fully heard in the piece at the transition from the first slow section to the first fast section.

Come prima was composed for the Seattle new-music ensemble Contemporary Chamber Composers and Players, which gave the premiere performance in August of 2004, in Seattle. The work is dedicated to them and especially to my violinist friend Eric Rynes, which explains the somewhat difficult and prominent violin part.

Come Prima (Northwestern University performance)

https://composerjim.com/works/no-thing-can-die-as-others-do/
Text:
by Edna St Vincent Millay, about the death of a poet:
"No thing that ever flew, / Not the lark, not you, / Can die as others do."
Premiere performance by the Calvin College Alumni Choir
Pearl Shangkuan, director.
Composer's Notes:
(in a letter sent to friends after Stephen Paulus' passing)
"Dear Friends: As I imagine is the case with many of you, I am having a really difficult time coming to grips with Stephen's passing. I have found myself in tears on several occasions, and frankly, again, right now. Stephen and I met in 2007, when we
both had music played on the same program. Now - I say we met... but, the truth is, he was the one who initiated the contact.
I knew of him and his music, of course, and was pretty much a "deer in headlights" when near him that day.
Well - true to Stephen's form (as I would subsequently come to discover) - he found me, was extremely nice and complimentary, and we had a long conversation. Every time I saw him thereafter, it was like seeing an old friend - he was funny, curious about what was going with me and my career, and also offering advice, which I still follow to this day.
In many ways, I relate to him very much. (and this was confirmed listening to the radio broadcasts and archived interviews
with him over the past couple of days). Actually, it's almost scary - and please mind you, I'm not making artistic comparisons
as if I'm his equal - but he would call his music neo-romantic, but quickly diffuse the negative connotation that exists currently;
he would describe his music as both rhythmic and lyrical. He liked joking around. He loved text. He's self-published
(one of the first success stories in that regard that I can think of). All of these things I would use to describe a lot of my characteristics, both personally and musically. (plus we're both thin with brown hair - but he had more hair!)
In the days since his passing, I have read many tributes, where people have spoken with such eloquence. I have never been blessed with the ability to speak as such, and so I have found myself these past few days really struggling with how to express my sadness.
The only way I know how to express my thoughts is through music. And so - last night - I wrote a little SATB choral score in Stephen's honor, and in his memory. The words come from something I read that Stephen's collaborator, Michael Dennis Browne, shared, as he thought of Stephen's passing:
by Edna St Vincent Millay about the death of a poet:
"No thing that ever flew, / Not the lark, not you, / Can die as others do."
I owe Steve so much, and this is the only way I could think to try to repay some of what he gave to me.
I knew I could count on seeing him every December at the Midwest Clinic here in my hometown of Chicago, and I will be so sad when I'm there this year, to only be reminded again that he is gone."
Jim Stephenson; October 22, 2014

No Thing Can Die As Others Do - James M. Stephenson

Jim Stephenson is a full-time composer and arranger based out of Chicago.

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The Entrepreneurial Musician: Jim Stephenson of Stephenson Music - Episode 11

Spinning Wheel 
- a sonatina for trumpet and piano by James M. Stephenson
https://composerjim.com/works/spinning-wheel/
duration: 12' 
Program Notes:
I have now been very fortunate to have composed two works for Robert Sullivan, professor of trumpet at the Northwestern University Bienen School of Music. This one, at his request, to be written for his feature recital at the 2015 International Trumpet Guild (ITG) to be held in Columbus, Ohio.
Bob asked for a work more "popular" and "lyrical" in nature.
Bob is one of the rare individuals who - through his trumpet - combines musicality with a beautiful sound, agility, strength, and exceptional lyricism. I tried to expose all of these qualities in "Spinning Wheel", while creating a work accessible in nature, yet imbued with subtle depth.
The title comes from the roundabout left hand of the piano, as it weaves its way throughout most of the entire work. The hemiola effect creates a sense of infinite motion, and propels the music forward.
Jim Stephenson; April 30, 2015

Spinning Wheel

Dillon MacIntyre performing Sonata for Trombone and Piano Mvt 1 composed by James Stephenson. Trombone solo accompanied by piano.

Sonata for Trombone and Piano, Mvt 1 - James Stephenson

Dillon MacIntyre performing Sonata for Trombone and Piano Mvt 2 composed by James Stephenson. Trombone solo accompanied by piano.

Sonata for Trombone and Piano, Mvt 2 - James Stephenson

Dillon MacIntyre performing Sonata for Trombone and Piano Mvt 3 composed by James Stephenson. Trombone solo accompanied by piano.

Sonata for Trombone and Piano, Mvt 3 - James Stephenson

Chicago Symphony Orchestra
Riccardo Muti, conductor
Charles Vernon, bass trombone

No Thing Can Die As Others Do - James M. Stephenson

James M. Stephenson

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