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 - mvmt. 3

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

Unfrettered - mvmt. 3

James M. Stephenson

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