This is a piano trio with a viola and cello instead of the traditional violin/cello/piano configuration.

Smoking Mirror

Samsara 2 is the second in a suite of three movements for wind quintet. This movement swaps out the c flute for an alto, the clarinet for a basset horn, and an english horn for the oboe. 

Samsara2

this is the first of three pieces for ww quintet, scored for clarinet, horn , alto flute, oboe and bassoon. 

Samsara1

this is the finale of the suite for ww quintet, scored for english horn, c flute, basset horn, bassoon and horn. I wanted to see what would happen with this peculiar rearrangement of the traditional ww quintet and what would happen if Philip Glass were to write a madrigal...

Samsara 3

this is a piece commissioned for organ, 2 trumpets, 2 horns, alto, tenor, and bass trombones, and tuba. I chose the name adamantine after the Buddhist Stainless Principal- one cannot be tarnished by acts of compassion. I consider the gathering of musicians and their audiences be a stainless act. 

The first two movements are constructed around a theme that might be a good fit for an adventure movie soundtrack, the final fugue is based on one of the oldest troparions known. 

Adamantine

this is the first movement of a trio for alto flute, harp an viola. It is supposed to be reminiscent of a dinner party in ancient times, performed as the tale of Tisiphone, one of the furies attempts to kiss a shepherd boy named Cithaeron. In spite of her good intentions, a snake that lived in her hair bit him and killed him. 

Tisiphone

This is a sonata for alto flute, based on a rivulet in France named after a tribal goddess of healing. Subjects could bargain with her priestesses with the offering of a male virgin for what ailed the heart, body or mind. 

thanks to Paul and Ellen for such a lovely performance. 

Sequana, Sonata for Alto Flute and Piano

This is my first orchestral work, a small suite for chamber orchestra. The first part is supposed to resemble the opening of a nighttime drama- you can hear the characters passing by and the interplay of romance and tragedy. The second part is a passacaglia with several themes alternating as the grounds. I wanted this to resemble the movement of a massive military train from ancient times. 

Michael Fantus