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.

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)

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

Sonata for French Horn/Piano - I.

James M. Stephenson

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