purchase music at www.murphymusicpress.com.

About the piece:

The world changing at the pace it does in the 21st century has only amplified the effects of anxiety. I am increasingly more aware of how it impacts perception of the world. Beginning conversations about stress and normalizing mental health care can only help build better citizens in our collective pursuit of happiness. Spark and Fire was composed as a series of four musical essays on anxiety.

Spark and Fire:
Essay I: spark and 􏰁fire - 3:25 min.
Essay II: only time will tell - 2:33 min.
Essay III: dance ambiguous - 1:40 min.
Essay IV: rise, and guide this world - 4:20 min

The creation of this work was supported by:

Dr. James Colonna & The Messiah University Wind Ensemble
Dr. Jonathan Helmick & The Slippery Rock University Symphonic Wind Ensemble
Mr. Chad Thompson & The Bethel Park High School Symphonic Band
My gratitude to these wonderful people for their support and affording me the opportunity to create.

Cover art by Pyro Lugo-Allen

"Spark and Fire - Four Essays for Wind Ensemble" by Robert Traugh

Commissioned and performed by Dr. Amanda Morrison and the Slippery Rock University Clarinet Choir.

Recorded by Zachary Thal of Royal Mantis Studios.

There are moments where the beauty of what occurs in the natural world allows you to grasp how small we are. When I travel, I seek these moments. They allow me to glimpse a bigger picture of life and its responsibilities. Each time I experience this, I come away slightly changed. 

There are between 28,000 - 30,000 species of Orchid, A fascinating species of plant that has gained a following worldwide for its beauty and variety of color, shape, and size. You can find these plants in almost every part of the globe. There is a following that people will venture into natural areas to have a chance to see a rare variety of these flowers in the wild. Some are rarer than others. But in either case, when you see something so beautiful growing on its own, in the wild, it can allow you to access that connection/reflection between yourself and the natural world. This piece seeks to represent these ideas.

“Where Wild Orchids Grow” for Clarinet Choir

Performance by the 2021 Fall Semester Duquesne University Trombone Choir.  Thanks to Jim Nova for asking me to write a piece!

In 2019, I read the book "Originals" by Author Adam Grant.  Since that time, I have been keeping up to date with his work.  When the pandemic hit, I began listening to his podcast titled "Work-Life with Adam Grant," where he delves into topics through the lens of organizational psychology.  In the summer of 2021, he had an episode where he talked about defining the world's feeling as the delta variant began to surge as languishing.  The word described precisely the response I was seeing in the people around me.  A more regular existence was just within our reach.  I decided to create this piece as an anti-fanfare, reluctantly relinquishing the arrival of accepting the world as it is.  The work has characteristic fanfare qualities, circling back to a lamenting melody using harmonic devices that aren't typically used in a fanfare but perhaps are just languishing enough for an anti-fanfare.

“A Universal Languish” for Trombone Choir

Performed by the Pittsburgh Creators' Project Symphonic Winds.
Jacob Zang, Sound Engineer

See the score or purchase the music here:  https://murphymusicpress.com/products/w-840

Composed in July of 2020, Cartwheeling was initially intended as a work for a flexible concert band. This is the full orchestration for the symphonic band. Ensembles can play both arrangements together; however, the percussion writing is more specific in this particular arrangement.  

Despite a world in chaos, reeling from the onset of the pandemic, we were able to find joy in watching my daughter learn how to cartwheel. She spent the entire summer outside cartwheeling around our yard and through our home from that moment on.  Cartwheeling is whimsical and fun!  This piece aims to capture some of that joy.

Cartwheeling - Full Band Arrangement

Photo Credit:  Aaron Burden

Hope in Bloom is a piece conceptualized for a young band. I wanted to provide something in the repertoire that helps to create the opportunity to draw attention to articulation patterns, accents and play more lyrically in young, low wind training, where directors can work on expression and phrasing. This piece aims to fulfi􀀢ll those goals.

I want to thank Brandie Falk for the opportunity to write this piece and Dr. Christopher Marra of Seton Hill University as the premier conductor at the 2022 Westmoreland County Music Educators Association 5th & 6th Grade County Band.

"Hope in Bloom" for Young Band

A Flute & Harp Duet by Robert Traugh
Purchase Music Here:  http://www.robtraugh.com/store/p9/Crystalline.html

As performed by Cassandra Eisenreich (flute) and Alyssa Hensley (harp).
Recorded by Red Caiman Studios ---> https://www.redcaimanstudios.com

Photo by Dan Hamill

"Crystalline" for Flute & Harp

About the piece:

The world changing at the pace it does in the 21st century has only amplified the effects of anxiety. I am increasingly more aware of how it impacts perception of the world. Beginning conversations about stress and normalizing mental health care can only help build better citizens in our collective pursuit of happiness. Spark and Fire was composed as a series of four musical essays on anxiety.

Spark and Fire:
Essay I: spark and 􏰁fire - 3:25 min.
Essay II: only time will tell - 2:33 min.
Essay III: dance ambiguous - 1:40 min.
Essay IV: rise, and guide this world - 4:20 min

The creation of this work was supported by:

Dr. James Colonna & The Messiah University Wind Ensemble
Dr. Jonathan Helmick & The Slippery Rock University Symphonic Wind Ensemble
Mr. Chad Thompson & The Bethel Park High School Symphonic Band
My gratitude to these wonderful people for their support and affording me the opportunity to create.

Cover art by Pyro Lugo-Allen

IV: rise, and guide this world

III: danse ambiguous

II: only time will tell

I: spark and fire

About The Piece:

This piece was commissioned by the South Allegheny H.S. Band Parents Inc. to honor elementary band director Karen Kadar for her 30 years of dedicated service to the South Allegheny School District band program. When Jessica Kovacs contacted me to talk through the piece, they knew they wanted to honor Karen with a work for the beginning band. She also shared that Karen is an avid birdwatcher. When you teach beginners for some time, your perspective opens up, and you take joy in seeing your students "leave the nest" to continue their musical interactions with the world. That idea struck me as similar to looking down from the perspective of a bird in flight and seeing the big picture. Thank you, Karen, for your years of service to music education.

Other Considerations:

As requested by the commissioning ensemble, I wrote for various percussion instruments. This piece focuses on an articulative idea that is carried through the piece. The essential parts are Snare Drum, Bass Drum, Cymbals, Bird Call, and Tambourine. These parts can be removed as needed. Everything else is optional.

Multiple players and various bird sound makers could play the Bird Call. I had in mind the "Audubon Bird Call."  You could also use this part antiphonally if your performance space allows for that interactivity. The sound will repeat for the duration marked in the part dynamics, and intensity largely depend on how many performers you have played that part and with what sound makers. The conductor should use their best judgment to shape that element of this piece.


Recorded by the TRYPO Wind Symphony

Cover photo by Veronika Bykovich

"A Bird's-Eye View" for Young Band

About the piece:

Digital Terrain was commissioned by the Moon Area High School Orchestra, under the direction of Nick Barthen and Abigail Finkelstein. This piece explores the profound advancements in artificial intelligence (AI) that have unfolded in recent times. The astonishing progress made in AI, with its ability to generate images simply through textual input, has sparked the imagination of many, including the composer.
The concept of virtual reality generated by AI is just a few steps away, provoking questions about the potential risks and rewards that lie ahead in this digital realm. As humanity stands on the precipice of this technological frontier, how will we navigate and adapt to the vast possibilities it presents?

Digital Terrain aims to encapsulate the sense of awe and uncertainty that accompanies traversing this new terrain shaped by AI. The music delves into the wonders and marvels that unfold within this digitally constructed world. It simultaneously evokes both fascination and trepidation, as the boundaries between reality and artificiality blur. As you embark on this sonic journey, allow the music to transport you to the frontiers of the digital realm, where endless possibilities and unforeseen challenges await. Embrace the fascinating and, at times, terrifying world that emerges from the collaboration between humans and machines in Digital Terrain.

"Digital Terrain" for String Orchestra

As performed by the Pittsburgh Creators Project Symphonic Winds at their Summer 2023 Reading Sessions.

About the piece:

The title, "Can(n)ons," carries a play on words that underpins the piece's essence. In music, a "canon" refers to a contrapuntal technique involving imitative entrances, often taught through oral tradition across cultures. For this composition, I chose the well-known canon melody of "Frère Jacques" as the foundation. The word "cannon" also conjures images of powerful devices launching projectiles with explosive force over great distances. Playing with these ideas became integral to shaping "Can(n)ons" and infusing it with layers of meaning and symbolism.

Within "Can(n)ons," the melody holds immense personal signi􀀿ficance for me. It's the song my wife, Bethany, sang to our children when they were young, accompanied by her heartfelt lyrics. This intimate and cherished melody captures the boundless enthusiasm and joy that my oldest child, Gavan, brought into our lives since he was born. It serves as a constant reminder of his unwavering drive and the overwhelming love he sparked within us.

I can't help but see the duality of canon playing out in the generations before me. We all yearn to be independent and, at the same time, in alignment with our past, Making for an interesting imitative counterpoint for the story of our lives
through generations. The perspective of that story changes with each passing iteration, lending a new perspective.

"Can(n)ons" represents a profound journey of growth, introspection, and 􀀿finding more balance, learning, and development of myself over the course of a decade. As I continue to move forward, I desire to create meaningful music and bring appreciation to all who encounter my art. To my son, Gavan: this piece is a testament to our boundless love for you.

"Can(n)ons" for Symphonic Band - Live Reading

About the piece:

The title, "Can(n)ons," carries a play on words that underpins the piece's essence. In music, a "canon" refers to a contrapuntal technique involving imitative entrances, often taught through oral tradition across cultures. For this composition, I chose the well-known canon melody of "Frère Jacques" as the foundation. The word "cannon" also conjures images of powerful devices launching projectiles with explosive force over great distances. Playing with these ideas became integral to shaping "Can(n)ons" and infusing it with layers of meaning and symbolism.

Within "Can(n)ons," the melody holds immense personal signi􀀿ficance for me. It's the song my wife, Bethany, sang to our children when they were young, accompanied by her heartfelt lyrics. This intimate and cherished melody captures the boundless enthusiasm and joy that my oldest child, Gavan, brought into our lives since he was born. It serves as a constant reminder of his unwavering drive and the overwhelming love he sparked within us.

I can't help but see the duality of canon playing out in the generations before me. We all yearn to be independent and, at the same time, in alignment with our past, Making for an interesting imitative counterpoint for the story of our lives
through generations. The perspective of that story changes with each passing iteration, lending a new perspective.

"Can(n)ons" represents a profound journey of growth, introspection, and 􀀿finding more balance, learning, and development of myself over the course of a decade. As I continue to move forward, I desire to create meaningful music and bring appreciation to all who encounter my art. To my son, Gavan: this piece is a testament to our boundless love for you.

"Can(n)ons" for Symphonic Band - Digital Rendering

One of my favorite holiday songs is "Silent Night." The memories come back quickly - volunteering, caroling, and the comfort and warmth of spending time with my family during the holidays. In this arrangement, I've added a touch of my fondness for playing with time signatures and harmony to create a unique rendition that captures the warmth and majesty of the holiday season. "Silent
Night" connects my memories and the moments I now share with my family. I hope you, too, can appreciate the simple things in life this season and find joy in their beauty and simplicity.

This recording is from the 2024 Pittsburgh Creators' Project Reading Sessions.

Photo by Griffin Wooldridge

Find a score and parts at www.roberttraugh.com or Murphy Music Press LLC

"Silent Night" for Symphonic Band

Five Narratives For Piano - 5. OP PH

Five Narratives For Piano - 4. GL KJ

Five Narratives For Piano - 3. FC TM

Five Narratives For Piano - 2. SM FL

Five Narratives For Piano - 1. MR LM

This is a live recording of the Pittsburgh Creators' Project Symphonic Winds in July 2024 by flutist Lauren Radeschi.

Moonburst is a piece that aims to embody a full moon's enchanting and transformative power. The full moon can have a magical presence, lighting up the sky with its reflection of the sun's light to the point where it looks like it might burst. If you have ever taken a walk during a full moon, you might have felt this.

The piece is arranged for a solo flute and intermediate concert band, capturing the ethereal essence of moonlit nights. The solo flute is central to the composition's narrative, and the music moves through varying dynamics and moods, much like the changing light of the moon as it travels across the night sky.

The interplay between the soloist and the ensemble in Moonburst creates a musical journey that mirrors the emotional journey of a moonlit night. The music transitions between light and shadow, serenity and vitality, echoing the moon's ability to both soothe and invigorate the soul.

2024 PMEA: Moon Area Middle School Wind Ensemble

"Moonburst" for Flute Soloist & Concert Band

Fragments of attention is written for a trio of two percussion and piano. Initially premiered by Pathos Trio in March of 2024

This is a mock-up of the revised work as of 7/22/2024

Purchase this work or learn more at:  www.roberttraugh.com

“fragments of attention” for percussion/piano trio

2016 Performance of Hashtag by Youngstown State University Wind Ensemble Stephen Gage, Conductor

# (Hashtag) Robert Traugh YSU Wind Ensemble - Stephen L. Gage, Conductor

Outside Perspectives performed live.

Outside Perspectives for Jazz Ensemble
Outside Perspectives was originally written for Professor Lynn Emberg Purse and the Duquesne University Electronic Ensemble in December of 2016, and then edited and rearranged for Jazz Ensemble in 2017. Composed with the intention of creating an intermediate work in a funk style. The piece is held together with a catchy repetitive sixteenth-note based figure in 7/4.

Outside Perspectives by Robert Traugh - Live Performance

Roaring Run for Concert Band
Composed in January 2017, Roaring Run was intended as a work for intermediate concert band.  This fast paced piece draws inspiration from the Kiskiminetas river passing by a trail in Apollo, Pennsylvania called Roaring Run.  The Kiskiminetas is a growing destination for kayaking & canoeing in the summer.  Though it looks serene, it is known as having one of the fastest undercurrents in the northeast United States.  This is represented musically through the use of a woodblock, which always remains in a fast ¾ meter as the character changes in the soundscape.

Roaring Run for Concert Band - Live Performance 4/2017

Fault Lines for Winds, Percussion, & Synthesizer
In the initial brainstorming, I was intrigued by the idea of creating the musical representation of a disruptive force invoking dramatic change. The imagery of landscapes shaped by tectonics, fault planes, and fault lines in geology was my inspiration for this idea. In the summer of 2016 I had the opportunity to visit Boulder, Colorado. Looking up at these massive formations of exposed flat iron rock had a looming and humbling effect on me. I have always had a fascination with landscapes and the forces behind them. I grew up visiting West Virginia and Pennsylvania Appalachia where a lush green temperate forest often hides the rocky features of the terrain; I had never seen anything like the Rocky Mountains in person before. It was in this week spent in Boulder that the idea to create a work about the formation of a landscape was born.  The concept immediately provided various associations between such geological forces and the forces of stress within the human mind. On an emotionally communicative level, I started by assigning meaning to the music that might represent the change that occurs when the disruptions, or mistakes, of our lives, change our outlook and actions. I began to draw a metaphorical correlation between this human process and the process of change that occurs with the stress and tectonics of the earth, as if it was alive and its own being. Thus, the deep thunderous heartbeat made sense as a motif throughout the piece. 				
I was drawn to invoke the essence of imagery associated with the fault lines concept. These faults as they present themselves in nature are monumental and awesome geological formations that define landscapes. Eruptions of volcanoes, the formation of tsunami, landslides, and of course earthquakes all conjure up images of nature’s primal force on display. Often, though these displays of force are the result of the constant stress of tectonic movement. It has been a welcomed challenge to create music based on both the constant stress as well as the violent act of rebalancing in the natural world.
Another layer of metaphor present in my mind was that related to the human effect on the environment. The human influence on the earth is a reality that is hard to ignore. The effects of fracking, mining, and drilling for natural resources will meet a threshold where the environment responds to rebalance.

Fault Lines for Wind Band - 4/2017 Recital Performance

Performance by the Pittsburgh Creators Project Symphonic Winds May 2018

A Fleeting Moment for Wind Band
Written in December 2015, this piece came to fruition in pondering what beauty is. I found myself referencing short moments in my own life... the simple things. It is easy for me to feel there is not enough time in the given day, often feeling like I am running onto the next big thing. I think it is this way for most people. We pass by some of the beauty in our lives and recognize it only when we reflect at the end of a fast-paced day. I think we all encounter these fleeting moments in different forms which only need us to stop and appreciate them.
Expressive, impressionistic figures are first deployed in a small chamber ensemble.  As the ensemble grows, new textures woven from simultaneous instrument patterns evolve. A thematic seed is planted here that appears in various forms throughout. The body of the piece features a series of short episodes with increasingly more intense arrival points.  After several of these episodes-leading-to-climaxes, the piece draws back to a limited instrumentation to close.  Not content to simply recycle conventional devices, but yet still not abandoning the tonal context of the last 100 years, the piece aims to find beauty in the place of tension between tradition and invention.

Live at Moon Area HS

A Fleeting Moment - Pittsburgh Creators Project Symphonic Winds

This recording was provided by the Bethel Park HS Wind Ensemble - Chad Thompson, Director.

“The River at First Light” was commissioned in 2018 by the Kiski Valley Community Band and their director Patti Marco in their 25th year of existence.

Through the Kiski Valley runs the Kiskimentas river. John Heckewelder was a Moravian writer, explorer, and historian who wrote about the Lenape and other tribes in Western Pennsylvania in the 18th century. John claimed that the name Kiskimentas is "corrupted from Gieschgumanito, signifying, make daylight.” According to John, the etymology is: Gisch-gu---day; gisch-que--- today; gieschapen---it is daybreak; manitoon---to make. This interpretation provided imagery for this river in the moments before the first light of daybreak, with all of the sounds of the river and its inhabitants. The piece begins with a thematic call in the clarinets which is then built upon both in melodic development and texture. After the introduction of the Kiskimentas' theme, the river takes us on a journey through several scenes, ultimately ending with the waters calming and approach of the evening.

March 2019

"The River at First Light" - BPHS

Purchase This Music Here:  http://murphymusicpress.com/products/w-498

“Through These Woods...” was written for the North Hills High School Band commissioning series in 2019 - Len Lavelle & Lucas Beaver, Directors. I appreciate the opportunity to contribute to a vast body of work for winds and percussion commissioned yearly since 1965. When Len asked me to create a new work for the series, we met to discuss the project with the opportunity to catch up on the relevant happenings in our lives. Len shared with me that he took some time during the spring to hike the Appalachian Trail. Through the summer I returned to walking a trail not far from where I lived in Appalachia at the time. It stuck with me after the initial meeting that many of us share a feeling of being called back to the natural world when seeking freedom from the grind of daily life, and that thought was used as a catalyst for this piece.

There is a clarifying power in a simple walk through the woods. I believe we all crave this return to the natural world, and are not far from the collective realization that we must engineer society to become more practical to the natural world. Perhaps the next step in our pursuit of happiness lies waiting for us to connect to it.

This piece starts with a call by the ensemble, as if we are standing at the trailhead. The first steps through these woods, we are unsure what to expect. The coloring of this environment in hues of green, brown, and gold is what we become aware of first. Then, the sounds, and subtle movements of our surroundings. Notice how the light has a personality of play in the woods to create moments of levity and awe. The first build is filled with these thoughts into the pentatonic panorama of measure 49. The themes, which we only had glimpses of, become more clear and stated with certainty. The rest of the journey musically reflects this perception of the natural world around us, as well as the journey inward as we travel through these woods...


“After you have exhausted what there is in business, politics, conviviality, and so on - have found that none of these finally satisfy, or permanently wear - what remains? Nature remains.”

-Walt Whitman-

Recorded in very early March 2020 at the MFA National Festival "Send-off" performance by the North Hills HS Wind Ensemble - Len Lavelle & Lucas Beaver, Directors.

"Through These Woods..." for Wind Ensemble

Blu Deux was commissioned by Robert K. Matchett III & Elizabeth Freimuth in the summer of 2019.

With the intent to write a duet inspired by the blues, this piece is largely written in 7/8, loosely influenced by the blues to create a fresh and fun harmonic & rhythmic perspective.

My sincere appreciation to Bob & Elizabeth for the project!

"Blu Deux" - Duet for Horn and Trombone

I have always been a fan of Philip Glass.  He was one of the first composers that really spoke to me when I heard his music in middle school.  Fast-forward to 2019, when Boardman MS directors, Tim Tuite & Michael Shevock asked me to write a piece for their middle school band to perform in 2020.  I came back to a thought I had while listening to Glass’s music.  The harmonic language lends itself well to a spy-themed composition.  So I set off on the process of writing a grade 2-3 spy-themed work, drawing inspiration from Philip Glass.  The result is Code:Glass.

"Code:Glass" - for Concert Band *MIDI*

In the fall of 2019, Tim Daniels, Director of Bands at Norwin High School, asked me to write a commission for the Norwin Bands honoring the memory of a student, Nathan Kanczes, who was lost just months before.

In a conversation with Mr. Daniels to understand the scope of the project and begin to gather inspiration for the piece, I had the opportunity to learn more about Nathan. He is remembered with great admiration by his directors, friends, and family. I wanted to provide an opportunity of remembrance and inspiration for his friends and family.

The etymology of the name "Nathan" is derived from "give to." In this composition a familiar and straightforward melody represents that gift. This idea, combined with an excerpt from the eulogy (below), which Mr. Daniels shared with me, helped to inspire the work. Imagery from the excerpt including the ideas of echo, use of voice, and presence all played a part in the composition of the piece. Antiphonal metallic percussion parts are introduced with delicacy in the middle of the piece, and by the end of the work, with a sense of resounding and enveloping of the audience.



	"It has been often said that music is the echo of God's voice. 

	Imagine with every note played... every song allows people to experience the presence of God's love... Nathan, and in fact, all the band members are the instrument of God's hidden beauty revealed in music. 

	Now, Nathan shares in the music and song of God's voice speaking to him directly... a love that is perfectly beautiful, embracing in heaven... This voice 	that we should carefully listen to as we play our instruments of His voice. 

	Tell them as they play... Nathan is there listening and praying that they never forget that God is the composer of every song.... and Nathan himself smiles to know it now with perfection."

"A Gift Resounding" performed by the Pittsburgh Creators' Project Symphonic Winds

Cartwheeling was written in July of 2020 intended for a flexible instrumentation concert band.  Something whimsical and fun!

Inspired by my daughter, Maia.

View the score here: http://murphymusicpress.com/products/w-613

"Cartwheeling" - for Flexible Concert Band *MIDI Mockup*

Performance by the Slippery Rock University Flute Choir.

Purchase this music: https://murphymusicpress.com/products/Z-101

Dr. Cassandra Eisenreich reached out to me in early 2020 to begin conceptualizing a piece of music for the 2021 Honors Flute Choir at Slippery Rock University in Pennsylvania. Through the process, she shared with me a recording of the Oslo Kammerkor singing a traditional Norwegian folk song "Når mitt øie, trett av møie" (translated as "When my eye, tired of toil"). This piece of music was so beautiful and straightforward, in 2020, it was precisely the type of music that resonated with me.

I used Når mitt øie, trett av møie as the inspiration for When The Fog Lifts. Drawing upon the opaque nature of what the world has been going through in the last year amidst a global pandemic, contentious election, and general cloudy future; I used this idea to inspire the piece. The use of melodic fragmentation, an aeolian flute palate, vocalization, and tonal clouding give the listener a sense of watching the fog lift and give way to more clarity. This piece resembles that idea, leading to the apex of the work directly inspired by the traditional folk melody. This time, a melodic transcription at its most transparent. Ultimately, the fog lifts and gives us a sense of resolution.

Writing this in late 2020, I hope that our collective future will develop similar clarity in the months ahead.

photograph by João Cruz

"When The Fog Lifts" - for Flute Ensemble

This Route Has Tolls was conceptualized in 2019 and composed throughout the year 2020. We have admired each other's work for some time and decided to embark on a joint composition. We attempted to create a piece of music that brought together compositional styles into as much of a cohesive sound as possible through this creative process. Each movement was composed in a manner unique to itself. Movement 1 was exchanged back and forth from composer to composer, each having the opportunity to compose through the entire ensemble linearly.
Movement 2 was composed in two halves and for four voices at a time - Robert wrote the saxophones, and David wrote the percussion voices. Movement 3 was composed entirely by Robert Traugh, and Movement 4 was wholly composed by David Reeves. This has been a fantastic journey for us both, and we are thrilled with the end results.

This composition was supported by a consortium of ensembles:

*Dr. Jason Kush & Dr. David Glover - Slippery Rock University Saxophone & Percussion Studios (PA)
Dr. Clifford Leaman & Dr. Scott Herring - University of South Carolina Saxophone and Percussion Studios (SC)
Prof. Dale Underwood & Dr. Svetoslav Stoyanov - The Frost School of Music Saxophone & Percussion Studios (FL)
Mr. Nicholas Barthen & Mr. Alan Fear - Moon Area High School (PA)
Dr. Nathan Mensink, Dr. Ben Cantrell, & Dr. Brian Mason - Morehead State University Saxophone & Percussion Studios (KY)
Dr. Tim Powell & Dr. Lee Hinkle - University of Maryland Saxophone & Percussion Studios (MD)
Mr. Josh Torres - Center Grove High School Percussion Ensemble (IN)
The Paul Bro Saxophone Quartet - Bobby Case, Matthew Altizer, Samuel Fritz, and Steven Georges (IN)
Dr. Keith Young, Prof. Edward Stephan & Prof. Eliseo Rael - Mary Pappert School of Music, Duquesne University (PA)
*Consortium Lead

This Route Has Tolls

MVT 1 - This Route Has Tolls

Music From What Remains

I. Introduction
II. Agitato
III. What Remains

Photo by Todd Trapani
The recording was captured live by Justin Stag

Performed by:
Flute - Cassandra Eisenreich
Oboe - Ian Woodworth
Bb Clarinet - Amanda Morrison
Bass Clarinet - Nolan Petote
Violin - Charles Stegeman
Cello - Adam Liu
Piano - Grace Burns


About the piece:

In the winter of 2018, I was invited to partner with choreographer Brady Sanders to compose music for a project he was working on titled “What Remains.” The piece was a creative expression and memorial to the friends and family who cared for their loved ones while they had Alzheimer’s disease. The finished product was so influential in the end that I made a promise to myself that I would revisit the material I used to contribute to the work. This music is some of the material I used for “What Remains” and is orchestrated for a septet.

When this piece is performed, it is my wish that the performing group hold a call for donations to an Alzheimer’s research organization of their choosing. Make a dedication and donate the profits in the name of any family of the performing ensemble that suffered from Alzheimer’s. Likewise, every time this piece is purchased, I will donate to an organization that supports Alzheimer’s
research.


for Howard & Boyd

Robert Traugh - Composer

Pinned to spotlight

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