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

Sonata for Oboe and Piano (3rd movement)
https://composerjim.com/works/sonata-oboe/

(total) duration: 15′

program notes by the composer:

In the winter of 2014, I was asked to step in and guest-conduct a local youth orchestra. In the effort to familiarize the young musicians with the concept that “all composers are not dead”, I shared with them the fact that I was a real-life, full-time composer, who actually makes his living staying at home and writing music all day. As expected (with youngsters), there were no “oohs” nor “aahs”, nor any sign of light-bulbs going on, so we just continued on with our work and the task at hand.

However, upon completion of the rehearsal, I was approached by one of the parents, who was sitting in the back of the room, and we struck up a conversation. Apparently he had been listening to my story, and was curious about my life as a composer. As an professional inventor himself, we shared similarities in our life’s passions.

The conversation with Mr. Doug Williams went even further, and imagine my surprise and delight when he approached me with the idea of writing a new work.  The project was so compelling (to me, at least), that I immediately agreed to it, and the idea of the oboe sonata was born. The piece was to be for his daughter, as a gift upon her graduation from Juilliard.  As a parent myself, I could not think of a better gift to a child. This piece is dedicated, with pleasure, to Doug Williams, and his daughter, Lauren. Thank you for your unique and giving spirit, and for furthering the idea of new music being invented!

About the music:

The sonata is similar in form to that of the Poulenc oboe sonata (one of Doug’s favorites): slow-fast-slow. The first movement itself, however, has an internal form of slow-fast-slow, mirroring the larger picture. An octave-leap motif initiates the piece, and becomes a central figure throughout the work. In mirror-image to the first movement, the second movement has an internal structure of fast-slow-fast. The movement is a showcase for both players – as sonatas ought to be – and is meant to highlight both the technical and lyrical attributes of the soloists. The third movement is a chorale-like dirge. It is marked “funereal” – mainly for purposes of tempo. It is not as morbid as the tempo-marking suggests, but certainly carries a sense of longing. It finally resolves in E major – a key suggested throughout, but never fully realized.

Jim Stephenson; April, 2014

Sonata for Oboe and Piano - 3rd movement

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