I Fanfare
II March
III Elegy
IV Scherzo
V Dramatic Episode
VI Largo
VII Rondo 
The pitch material of this music uses two sets of contrasting intervalic content. 
The first, C Db E B Bb Gb A Eb G Ab F D, is atonal, emphasizing dissonant 
intervals. It is used in movements I,  IV, and V. The second series consist of perfect fifths, G D Db Ab A E Ab Eb Bb B F#,  employed in II, III, and VII and has some tonal implications.

This Divertimento was composed in 1963, when the composer was 19 yrs. old, for Hugh Soebbing and the Quincy College Brass Quintet. 

Divertimento 1963

Shadows of Forgotten Dreams is my response to Cave of Forgotten Dreams, a 2010 film by Werner Herzog about Chauvet Cave in southern France, which contains the oldest human-painted images yet discovered. Some of them were crafted around 32,000 years ago.

James Pellerite, native flute.

Echoes of Forgotten Dreams

Randall Snyder
The Dream
Narrator, Flute, Bassoon, Horn, Trumpet in Bb, Violin, Cello
I
Fleeting glimpses......
I should have though more
than I did...
but the insect, with its
black, grappling, hideous, nauseous wen of truth.
The black covered the white
and the wicked depths perceived.
II
Pink and soft,
smooyh by the unparalled.
Relaxed, complacent.
A good sun, with good inhabitants. Gossamers flecked the outer extremes. Parallel goodness.
Pliant, supple, sinuous,
aloof view.
II
Repeated perversions in the back light, striking, thrusting....impact.
The balck god of slime
from his subterranean lodge
sucks, festers, destroys.
The king, burning with lice and filthy vermin... with morbifdrealistic jeopardy...
Intrinsic malicious decayed corpse....
eternal.
IV
That other place...horixonn...distane...
fingertips stretched by man's incessent flounderings in the deep warm porous mud.
and impresso\ion no more...
lost.... camoflaged....
oblivion.

The Dream 1963

This piece, scored for solo violin and strings orchestra, combine certain
aspects of the baroque concerto and classical scherzo. The opening and
closing sections are characterized by  continuous ostinato rhythm, while 
the inner trio sections are more rubato.  

Scherzo Concertante

Tessellation is comprised of nine sections, grouped in three movements. 
Each section emphasizes a different timbral aspect of the ensemble: full 
ensemble, "concerti", and unaccompanied cadenzas.

I Cello concerto – Cello cadenza - Violin Concerto
II Interlude 1 (palindrome} Piano concerto – Piano cadenza 
III Interlude 2 (palindrome) Violin cadenza – Full Ensemble

Tessellation was written in 1978 for the Nebraska Trio: Arnold Schatz,
violin, Priscilla Parson, cello, Audun Ravnan, piano.�

Tessellation

This short recital piece for trumpet and piano was written in 1970
when the composer was 26 yrs. old. It is one in a series of compositions
written for students at Rock Valley College where he was the band
director. In one continuously evolving movement, it begins with piano 
playing a sicillienne rhythm followed shortly by even 8th note passages
harmonized in minor thirds. The trumpet enters with a nelody also
emphasizinf the minor third. A key motive, B D G F#, is introduced
in m. 6.  After a brief piano interlude the trumpet returns, leading at
measure 34 to a climactic high B. 

Lyric Piece Dean Haist, trumpet

Dinah. Ed Love soprano sax soloist

Tourmaline Dream, Bryant Scott trombone soloist

Quetzalcoatl

Pining Away as an Erotic Activity

I waste, like paper, in your absence, insistent ribs and blades
straining towards the surface.
You could label me a skeleton
on bones pale and lingering
as a street light. My fingers click into a thin fist.
Nothing on hand, but a jar
of relish, to whet and unsatisfy
my hungering tongue. Weak and empty. I watch visions like late movies,
tuning to the restricted channels.
How perfectly I can tune you.
Faded to the colors of smoke,
all my hair uncurls, long and straight as gried. My body is hollow.
I hear echoes inside,
repeat, imitate, the last obsession,
a former touch.


Current Event
"Electric Women to Meet" -Seattle Times

Static, shock, a surge of power- Electric women converge on the town. A battery of women coil like wire.
Circuits open, smooth as flour, Ever-ready, they'll never run down. Static, shock, surge of power- Electric women converge on the town.


Transition: Villanelle for the Road

Kind friends wonder if I have a lover with queries never less than kind.
I find I've lost the skill to love,
or lost the will, like something to recover from under beds. Whatever I find,
kind friends wonder. If I have a lover,
we slip and fit as hand and glove,
in love enduring as cliche. We'll die eniwined, I find I've lost the skill. To love
or write of love, it's duty to discover
the unworn phrase, words and lover alike designed Kind friends, wonder if I have a lover,
and try not to read my life between, above these lines. To invention my skill's consigned! I find I've lost the skill to love
they say, for years goes underground
but stays, like rhyme schemes in the mind. Kind friends wonder if I have a lover.
I find I've lost the skill to love.

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