Program notes - by the composer:
This piece is certainly meant to stand on its own, but so much of it is indebted to the gold-standard of octets - composed by Igor Stravinsky in 1923 - that a paired performance would certainly be most welcome.
I played his Octet probably nearly 10 times during my career as a trumpet player. It was always a tremendous reward to try to accomplish all of the subtleties and clever writing he incorporated for all of the musicians.
One thing I have always loved about Stravinsky's writing is how he dovetails lines, handing from one instrument to the other, and how it is therefore the players' responsibilities to make those seamless. It's like handing a baton from one runner to the next in a relay race.
But in the macro sense, composers are always handing the baton to each other, from one generation to the next. While I could never claim to be near Stravinsky's level, I feel like we're hanging out together while I'm writing a piece like this. He's handing his piece to me like a baton in a relay, and I take it and do my own thing with it. As a result, there are tributes to him throughout this piece; some obvious, and some really subtle.
The first movement employs some of the aforementioned dove-tailing immediately during a brief introduction. Right away, however, the music "grooves" in a modern way, as if to signify that we are no longer in the world of 100 years ago.
The second movement is entirely lyrical (no theme & variations like Stravinsky's), and allows various soloists
the spotlight, while accompanied by (again) a dovetailing effect over an unusual 9/8 pattern.
The third movement might be the most closely related to that of Stravinsky. Similar rhythmic and spiky writing are used, but again, presented in a language a bit more related to this century.
The ending, however, is entirely a tribute (I admittedly felt "risky" in writing it). The ending to his octet is absolutely magical. It takes us to another world. Mine attempts some of that - again, in an obvious tribute. I thought about shortening some of the repeated segments, but then I thought: "no - let's see if we can allow the audience to enter some sort of zen-zoning-out phase." To get the effect, the players will have to be totally committed to it.
The last chord is entirely Stravinsky's - but with the flute up an octave to signify that this octet is new!
My sincerest thank you to Mike Fansler for spearheading this project, and to Brad Genevro for his participation as well. Mike has shown a lot of support for my music, including my Devil's Tale, a sequel to Stravinsky's "Soldier's Tale", and pieces like these that simply wouldn't exist without his confidence in having me write them.
~ Jim Stephenson; March 13, 2021

Octet Mvt 1

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)

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

Octet Mvt 1

James M. Stephenson

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