Instrumentals

Music for your Ears

Wind Ensemble

LIVE performance from historic Hill Auditorium in Ann Arbor. 

This performance features the McIver Quartet [Marjorie Bagley and Katherine McLin, violins, Scott Rawls, viola and Alexander Ezerman, cello] and the University of Michigan Symphony Band with Michael Haithcock, conducting.

Short Stories is a string quartet concerto commissioned by the University of North Carolina at Greensboro, The University of Michigan, The University of Texas, Northwestern University and the University of Colorado and dedicated to Kevin Geraldi.

Approximately 21 minutes long and scored for string quartet, winds and percussion.

View perusal score here: joelpuckett.com/Puckett_Short_Stories_perusal
Part I:

1.	Somewhere near the end [tutti]
2.	Introit [quartet]
3.	The Priests [viola and cello duet]

Part II:

4.	Recitative [quartet]
5.	mother and child [violin duet]

Part III:

6.	sonno agitato [ensemble alone]
7.	The Bridge [cadenza] [quartet]
8.	Ma Fin [tutti]

Program Note

“There will come a time when you believe everything is finished;
that will be the beginning.”

— Louis L’Amour, Lonely on the Mountain

What makes the construct of the short story itself so unique among other literary devices is the demands placed on the author to create a meaningful narrative. They must describe the relationships between characters, present a conflict, and resolve it in a remarkably short span. It takes a deft writer to cleverly craft within these restrictions, and yet some have pushed the genre further by creating collections of stories that seem at first disparate, but eventually are revealed to be intertwined. Much like these painstakingly crafted works of literature, Joel Puckett’s Short Stories is a study in structure. On the surface, it bears the appearance of eight vignettes strung together into a concerto for solo string quartet and wind ensemble. Upon listening, however, the work’s movements reveal themselves as inextricably linked through a layered thematic language that plays out through a sort of “game of pairs.”

The external movements of the work serve as a frame story, not unlike Chuck Palahniuk’s novel Haunted, which the composer cites as an influential on the structure of the work. Between the external movements, Puckett presents three pairs of linked movements. Each of these sections highlights two of the solo voices, featured at the section’s conclusion with a virtuosic duo cadenza. The final internal grouping—the sixth and seventh movements—takes the independent duo cadenzas and superimposes them. It is only at this climactic moment that we hear that the concerto’s primary theme—the basis for both the first and last movements—is the combination of the elements within these cadenzas. In a sense, the entire work evolves from the constituent solo playing of its stars.

The opening—amusingly titled “Somewhere near the end”—introduces the notion of pairs in its own way. There is diametric conflict between both the soloists and the ensemble as, until the end of the movement, the two groups play almost exclusively in isolation. The harmonic language likewise poses friction, first hinting at the unbridled optimism of D major, and almost immediately thereafter shattering it with a tempestuous dissonance of extended harmonies in G minor. The effect is that of a series of dramatic wailings that set the stage for the players.

The first internal section, comprising the movements “Introit” and “The Priests,” is based on ancient liturgical materials. The introit itself is a part of the Proper of the Catholic mass, and this placid movement also presents a part of the Mass’ Ordinary by way of a “Kyrie,” passed from instrument to instrument in the movement’s center. The dramatic beginning of “The Priests” is a stark contrast with its bold chorale scored solely for brass and saxophones, and the rhythmic ostinato from the low strings (“Regina Coeli”: a reference to the antiphon to the Virgin Mary). Complex mixed meters dominate the pulse as a punchy homophonic accompaniment supports the vivid rhythms of the soloists.

The contrasting middle pairing (“Recitative” and “mother and child”) has a basis in Baroque opera, modeling a recitative and aria. “Recitative” serves mostly as an introduction, with a sparse accompaniment of vibraphone, celesta, and harp. The opening of “mother and child” expands the instrumentation to include the woodwinds and horns, dancing about gracefully with a patient, yet lilting tempo. This middle section is the longest single segment of the piece, and harmonically the most static, as it floats past slowly in a cloudy, dreamlike E-flat major. The gentle caress of the violin duet is both captivating and endearing throughout.

The tonal center of E-flat remains for the sixth movement, but little else is held as the pleasant dream of the middle section is roused by “sonno agitato”—literally, “restless sleep.” This movement, solely for the ripieno, harkens back to the most tumultuous moments of the first movement. The pulse quickens unrelentingly and the ensemble spills over, out of control, into “The Bridge,” a cadenza for the concertino. Here the previous duo cadenzas are pressed into conflict with each other in a manner that seems incompatible and dissonant. As the soloists play together, however, the argument between them is sated and they begin to find a synergy in their florid and virtuosic variations. The energetic realization of the work’s opening motive ushers in the ebullient “Ma Fin” (a nod to Machaut’s rondeau “Ma fin est mon commencement”—literally, “my beginning is my end”). This finale starts with a return to the first movement, but this time, the soloists come together as one and, with a battering of thirty-second notes, breaks through the restlessness of the ensemble and forces them back on track into the brilliant opening, finally moving together toward their happily ever afters.

—Jacob Wallace

Short Stories [string quartet concerto] UMICH LIVE

The original Juilliard version from 1996. For triple string quartet.

Tree

Middle movement excerpt from the viola sonata 'Deep Sky Blue', from Deubner-Fauchet Duo's soon-to-be-released CD.
Brett Deubner, viola | Caroline Fauchet, piano

Deep Sky Blue - ii. Simply

Performed by the U.S. Marine Band on Feb. 2, 2014 at Rachel M. Schlesinger Concert Hall and Arts Center in Alexandria, VA
Maj. Jason K. Fettig, conducting
http://www.marineband.marines.mil/AudioResources/WebExclusives.aspx#newmusic
©2003 OK Feel Good Music

Chunk

EDGES is inspired by several events in my life over the period of 1995-97.  Two are near-death experiences, while the third is the sudden passing of one of my closest colleagues and best friends, Professor Robert Cooper.  

The first movement, "BACK FROM THE EDGE", is a chronicle of the battle that I waged with "flesh-eating strep", which nearly cost me my life in spring, 1995.  A fragment of a line from French playwright Jean Genet’s “Prisoner of Love” served as additional inspiration: 

 “perhaps all music, even the newest, is not so much something discovered as something that re-emerges from where it lay in memory, inaudible as a melody cut in a disc of flesh.  A composer lets me hear a song that has always been shut up silent within me.”

In a sense, my life has re-emerged from where it lay, for a while, silent, in memory.

Movement II, "POSTCARDS", is inspired by my mentor and friend, composer Donald Erb, who had his own near-death experience about a year later in the same Ithaca, New York hospital (a bizarre coincidence).  I know that he shared many of the mental aberrations I experienced during the recovery process, and POSTCARDS reflects the strange visions, the elusive but more and more frequent moments of clarity, and the eventual return to reality that such experiences create.  For me, in retrospect, these thoughts were like vivid postcards of other realities, sent to me by another part of my mind and filtered through the pain, the fear, and the medications that I had been given.  There was also a highly obsessive quality to my thoughts during the reco-very, which is reflected in the primary melodic material which simply refuses to disappear, though it changes colors, dynamics, and tempos at every turn.

Postcards -- real postcards, that is -- also played a role in my experiences.  While recovering, I received a post card (often of questionable taste) every two or three days from Don.  When it was his turn to be in recovery, it was my turn to send him postcards (equally questionable)...they seem now to me to be a lifeline to reality from people who are eager to welcome us back.

A quote was inspirational for this second movement as well, this time from Hermann Hesse’s Damien:

“In each individual the spirit is made flesh, in each one the whole of creation suffers, in each one a Savior is crucified.”

The final movement is a reflection on the amazing, wonderful, and sometimes difficult life of my colleague, Robert Cooper.  Robert had, without a doubt, the speediest metabolism of anyone I have ever known.  Lunch with Robert could be defined as both of us eating for the first five minutes and Robert watching me finish eating for the last 45.  Robert had two computers in his office and a phone; often all three were busy at once, while he carried on at least one additional conversation with whomever was present.  Yet Robert had great depth too.  He was a living example to students and colleagues, especially in facing life’s travails with courage and conviction.  He was also funny as hell.  I suppose that Robert’s pace was impossible to sustain, and in fact he died suddenly at age 45 on September 18, 1997. 

No quotations needed with this movement.  This one’s for you, man.


EDGES Movement III OhMan for wind ensemble

EDGES Movement II Postcards for wind ensemble

EDGES Movement I Back from the Edge for wind ensemble

Affectionately known as the Green Machine, The Cavaliers have been dishing out some of drum corps finest percussion programs for decades. In this book, you'll find technical exercises and musical excerpts that make the gears turn for one of the worlds top marching percussion programs.

New Green Beats for the new percussion team! Green Beats 2010 is the latest technique book compiled by the Cavaliers percussion staff which includes a full collection of technical exercises and musical excerpts for all battery sections (snares, tenors, bass) as well as the front ensemble. Exercises are written in score form and contain written guidelines from Cavaliers staff members on how to approach the musical concepts involved. Technical guidelines pertaining to grip, stroke, playing positions, etc., include pictures and details to consider when learning the Cavaliers percussion approach.

Sheet music available from http://www.tapspace.com

Snare-Tenor Audition Piece


This book contains some of the most unique drumline cadences and 60 second warm-ups ever written for the Santa Clara Vanguard.

Gusseck also supplies a foreword to each piece giving some insight to the creation of the work. These are advanced pieces, which are sure to test the boundaries of your rudimental chops!

Sheet music available from http://www.tapspace.com

Electric Wheelchair (Murray Gusseck)

The word "scintilla" was originally Latin for "spark." It is currently defined on dictionary.com as a minute amount; hint, trace, or particle. Newcomer Andrew Ziehm's Scintilla for marching battery ensemble has a hint of some spark, alright…lots of it. The phrase, "It's all in the details" seems apropos when listening to this sophisticated work by a very young composer.

The piece effortlessly mixes 6/8, 4/4, and 7/8 and keeps dancing the whole time. Particularly scintillating bits are during the 6/8 sections where the interplay between snares, tenors, basses, AND cymbals create not so much a theme as a vibe. Very cool stuff!


Scintilla (Andrew Ziehm)

A Song Composed by Ryan O'Neal from the band Sleeping At Last for my newest instillation called "The Perpetual Picnic".

The Ash is in Our Clothes

From the "Darkness" EP, as part of Sleeping At Last's Atlas Project, an ongoing series of Eps.

Uneven Odds

Northwestern University Symphonic Wind Ensemble
conducted by Dr. Mallory Thompson
Pick-Staiger Concert Hall, Evanston IL
April 19, 2013

Symphony No. 1, My Hands Are a City

The Florida State University Wind Orchestra
Richard Clary, conductor

Ruby Diamond Concert Hall, Tallahassee FL, April 15, 2013

Sowing Useful Truths

Jonathan Newman composes music rich with rhythmic drive and intricate sophistication, creating broadly colored musical works that incorporate styles of pop, blues, jazz, folk, and funk into otherwise classical models. Trained as a pianist, trombonist, and singer, his work is informed by an upbringing performing in orchestras, singing in jazz choirs, playing in marching bands, and accompanying himself in talent shows. From opera to bubblegum pop, Newman delivers a new perspective on American concert music. Recent work includes MASS, a large-scale project with texts by poet Victoria Chang which premiered in 2018 with The Choir of Trinity Wall Street as part of their Mass Reimaginings commissioning program. In 2016 he was appointed Chicago Youth Symphony Orchestras Composer-in-Residence; CYSO’s 2011 commission BLOW IT UP, START AGAIN has been performed by orchestras worldwide, including the Minnesota Orchestra, the Toronto Symphony, the 2015 Cabrillo Festival of Contemporary Music, and the Royal Philharmonic Orchestra at the 2015 BBC Proms. He is currently working with playwright Gary Winter on an imaginary ballet suite project for the Florida State University Wind Orchestra. He resides in Virginia, where he serves as Director of Composition & Coordinator of New Music at Shenandoah Conservatory.

Sowing Useful Truths

jonathannewman