https://composerjim.com/works/symphony-no-2/
Program Note:
On April 23, 2016, my mother, Shirley S. Stephenson, passed away, at the age of 74. It was the first time anyone that close to me had died, and I honestly didn’t know how to respond. As this new piece – the symphony – was the next major work on my plate, I thought the music would come pouring forth, as one would imagine in the movies, or in a novel. However, the opposite happened, and I was stuck, not knowing how to cope, and not knowing what to write. Eventually, after a month or so, I sat at the piano, and pounded a low Eb octave, followed by
an anguished chord answer. I did this three times, with three new response-chords, essentially re-creating how I felt. This became the opening of the symphony, with emphasis on the bass trombone, who gets the loudest low Eb. I vowed I wouldn’t return to Eb (major) until the end of the piece, thus setting forth a compositional and emotional goal all at once: an Eb to Eb sustaining of long-term tension, technically speaking, and the final arrival at Eb major (letter I, 3rd movement) being a cathartic and powerful personal moment, when I finally would come to terms with the loss of my mother. The voice in the piece is that of my mother, an untrained alto, which is why I ask for it without vibrato. In the end, she finally sings once last time, conveying to me that “all will be ok”. I think it is the most difficult times we endure that force us, inspire us, to dig deeper than we could ever imagine. On the one hand, I am, of course, deeply saddened by the loss of my mother; but on the other, I will always have this piece – which is the most personal to me – to in essence keep her alive in my heart. I always tear up at letter I (at approx. 5:06 of mvmt 3). Always. But they are tears of joy and treasured memories of 74 years with my mother.

Symphony 2 mvt II (orch premiere)

Symphony 2 mvt I (orch premiere)

https://composerjim.com/works/symphony-no-2/
Program note (from the composer):
On April 23, 2016, my mother, Shirley S. Stephenson, passed away, at the age of 74. It was the first time anyone that close to me had died, and I honestly didn’t know how to respond. As this new piece – the symphony – was the next major work on my plate, I thought the music would come pouring forth, as one would imagine in the movies, or in a novel. However, the opposite happened, and I was stuck, not knowing how to cope, and not knowing what to write. 
Eventually, after a month or so, I sat at the piano, and pounded a low Eb octave, followed by an anguished chord answer. I did this three times, with three new response-chords, essentially re-creating how I felt. This became the opening of the symphony, with emphasis on the bass trombone, who gets the loudest low Eb. I vowed I wouldn’t return to Eb (major) until the end of the piece, thus setting forth a compositional and emotional goal all at once: an Eb to Eb sustaining of long-term tension, technically speaking, and the final arrival at Eb major (letter I, 3rd movement) being a cathartic and powerful personal moment, when I finally would come to terms with the loss of my mother. 
The voice in the piece is that of my mother, an untrained alto, which is why I ask for it without vibrato. In the end, she finally sings once last time, conveying to me that “all will be ok”. I think it is the most difficult times we endure that force us, inspire us, to dig deeper than we could ever imagine. On the one hand, I am, of course, deeply saddened by the loss of my mother; but on the other, I will always have this piece – which is the most personal to me – to in essence keep her alive in my heart. I always tear up at letter I (approx. 5:07 of mvmt 3). Always. But they are tears of joy and treasured memories of 74 years with my mother.

Symphony 2 mvt III (orch premiere)

Ray Cramer, conducting

https://composerjim.com/works/symphony-no-4/

I. Allegro tempestuoso
II. Adagietto
III. Scherzo
IV. Theme and Variations

Program Notes (by the composer):

In late 2022, I was approached by Tom Riccobono to compose a new work for the adults who performed as part of the Interlochen College of Creative Arts, and to be premiered the following August. We discussed many ideas, mostly surrounding an exciting 5-8 minute work. At some point during the conversation, I mentioned that I really preferred digging into larger scale works. Tom also seemed excited by that concept, and before we knew it, the idea became a reality, and my Symphony No. 4 was to be born. There was just one caveat: I told Tom to be patient with me, as I wouldn’t even be able to begin working on such a piece until the summer of 2023, and would have to deliver it just a month before the premiere. Never one to back down, Tom agreed, and the project was in my hands to deliver.

Anything created for Interlochen takes on special meaning for me.

I was a camper there first at the age of 10, and then attended three years of high school, and then even two summers teaching scattered in as well. I’ve written several works for various occasions there as well. So, to put it mildly, Interlochen has been a huge part of my life.
In writing this piece, I reflected back upon my earliest memories of attending camp. I recall showing up for one of my first orchestra rehearsals, and Gliere’s “Russian Sailors Dance” being put on our stands, and then us little bunch of 10 year-olds eagerly clawing our way through this unknown music. I remember loving my trumpet part, and thinking to myself: “This piece rocks!”. I was hooked, and have never looked back.
Away from the music part, I also clearly remember showing up in my cabin, the very first day – not at all knowing anyone – and fellow camper Hank Hauke asking me if I wanted to play tennis. I quickly abandoned my parents to do the unpacking, and I ran to the courts. Again, I was hooked. Therefore, in starting this piece, I wanted to capture that excitement: that eagerness (featuring trumpets, of course), and the mystery and youthful anticipation of a new world being discovered. The first movement’s opening melody is childlike and mischievous (like I was), with an unending drive from beginning to end.
The 2nd movement shows more of the reverence that grew within me for the place I continued to return to. It uses a recurring theme, growing and growing, with sustained anticipation of something wonderful happening. It is also distinctly American sounding.
The 3rd movement scherzo is simply nothing but fun.
The 4th movement is where we return to the Gliere inspiration of my 10 year-old self. I decided to copy his idea of a Theme and Variations though mine uses an original, almost funereal theme (no metaphor intended), where each variation gets just a bit more and more exciting, until we finally “rock out”, with themes and variations all occurring simultaneously in large fashion. One thing to be noted: upon doing research AFTER I finished my work, I discovered that Gliere and I both used the same amount – 12 – of variations on our themes. It’s almost as if Interlochen is still working its magic…

Thank you so much to Tom Riccobono for joining me in this adventure. Thank you to Interlochen for assisting in its coming to fruition. And thank you ever so much to the donor – also a trumpet player! – who supporting the creation of this work, of which I am very proud.

~ Jim Stephenson; July 9, 2023

2023 Musashino Academia Musicae Wind Ensemble Concert

Stephenson: Symphony no.4 - mvmt 4

Stephenson: Symphony no.4 - mvmt 3

Stephenson: Symphony no.4 - mvmt 2

Stephenson: Symphony no.4 - mvmt 1

Fanfare for the Dance (The Sun Also Rises) for Orchestra by American composer Betsy Schramm is a new work commissioned by the Corpus Christi Symphony in honor of their 75th Anniversary.

This exciting and dramatic work is about 3 minutes in length.

Instrumentation is for 2 Flutes, 2 Oboes, 3 Clarinets, 2 Bassoons, 4 Horns, 3 Trumpets, 2 Trombones, 3 Percussion (Vibraphone, Xylophone, Chimes, Wind Chimes, Snare Drum, Tam-tam, Glockenspiel, Tam-tam, Temple Blocks, 4 Tom-toms)﻿, and Strings.

Schramm Fanfare For The Dance For Orchestra

Professional Musician, Trombonist, Teacher, Arranger, Publisher.
Graduate of Eastman School of Music
Retired Principal Trombonist of Vancouver Symphony Orchestra and CBC Radio Orchestra. Formerly National Arts Centre Orchestra.
Retired University of British Columbia Department of Music

New tracks tagged #American composer