ThomasJosephMusic

Dominion Fanfare for Wind Ensemble premiered at Willett Hall by Old Dominion University's Wind Ensemble (originally called Fanfare 2013). 

Dominion Fanfare for Wind Ensemble

Suite for Brass Quintet preformed by Old Dominion University's Brass Ackwards.

Suite For Brass Quintet

Performed by Bonnie Kim (flute) and Andrey Kasparov (piano)

Sonatina For Flute And Piano-- Bonnie Kim (flute) and Andrey Kasparov (piano)

Quartet for soprano saxophone, guitar, vibraphone and harpsichord. 

Performed by Jim Nesbit (Soprano Saxophone), Tim Olbyrch (guitar), Bryan Mauer (Vibraphone), and Oksana Lutsyshyn (Harpsichord)

"Quartet" Movement 1-- soprano saxophone, guitar, vibraphone and harpsichord.

Quartet for soprano saxophone, guitar, vibraphone and harpsichord. 

Performed by Jim Nesbit (Soprano Saxophone), Tim Olbyrch (guitar), Bryan Mauer (Vibraphone), and Oksana Lutsyshyn (Harpsichord)

"Quartet" Movement 2-- soprano saxophone, guitar, vibraphone and harpsichord.

"Quartet" Movement 3-- soprano saxophone, guitar, vibraphone and harpsichord.

Live recording of "Fanfare 2010" by the Eastern Virginia Brass Quintet on February 4, 2013-- concert at Virginia Wesleyan College.

Fanfare 2010 for Brass Quintet

Fantasia For Piano-- performed by Andrey Kasparov (piano)

Preludes and Fugue is a four-movement antiphonal work-- specifically three preludes and a triple fugue-- written for three contrasting quartets: a double reed ensemble consisting of oboe, english horn, bassoon, and contrabassoon; a clarinet ensemble consisting of soprano clarinet, basset horn, bass clarinet, and B-flat contrabass clarinet; and a modified string quartet consisting of violin, viola, violoncello, and double bass. The first three movements are preludes designed to foreshadow the fugue. Each prelude isolates one of the quartets and explores one of the impending fugue subjects in contrasting atmospheres and styles.
 
The first prelude explores the initial motive of the third subject, performed by the double reeds. Stylistically, the prelude is of a light and playful character that one normally would identify with the bassoon. This fragment of the third subject is passed around humorously from one instrument to another.
 
The second prelude of the string quartet explores the first subject of the fugue but with much more subtlety. Specifically, the initial leap of a major 7th in the first subject, as well as its minor 2nd inversion relative, is developed in harmonic fashion rather than melodically. This movement explores darker emotions, spanning a lament to an ill-fated romance.
 
The third prelude develops the second subject with much more stylistic contrast in comparison with the first two preludes. The clarinet quartet showcases their wide range of possible color combinations. The prelude begins aggressively, then lightens in accompaniment, yet juxtaposes itself with a rustic, penetrating B-flat contrabass clarinet solo. A lyrical section follows, a peculiar section follows later, then the prelude ends with a light-hearted and playful section.
 
The finale is a triple fugue of the three subjects, involving all three quartets. The fugue begins traditionally but slowly opens up to experimentation with more modern representations of counterpoint. Each subject is introduced separately with its own exposition, played by its respective quartet. However, after all three expositions conclude, the three ensembles unravel and then intertwine as one mass ensemble. At one point, all the bass voices are vertically stacked on top of each other and each act as an individual bass--in an interesting moment, the B-flat contrabass clarinet overtakes the double bass as the bottom voice. Then the other voices interact over each of these basses in their respective harmonic regions, creating tri-tonality within the confines of the fugal setting.

Preludes And Fugue- III "Clarinets"

Preludes And Fugue- II "Strings"

PROGRAM NOTES
Concert Music for Orchestra was developed from a spontaneous ideation of the opening theme. The initial idea dawned on the composer, with the theme itself spawning out of nowhere from the pizzicato strings and eventually devolving into the rest of the work. Concert Music is loosely based on a sonata form. The development is not confined to a specific location, but instead, is spread out through the work. There are 3 major themes that are utilized throughout the work while a few others-- born into existence from the major themes-- are intertwined into the body of the composition and juxtaposed against one another.

The initial design of the piece consisted of solo-like style of writing in the wind instruments with a string orchestra accompaniment-- a small chamber orchestra specifically. Pure colors, transparency, and small timbre groupings were the initial focal point. However, the demand for more instruments later in the work created large areas of more aggressive and voluminous orchestration, while a more
chamber and individualized approach to the woodwinds still continued to be featured in some other prominent sections. The brass instruments were treated similarly to the winds as they remained soloistic throughout the majority of the piece.

Several techniques are used in this composition for the purpose of variety such as flutter tonguing, string tremolos, pizzicato, muted brass, drastic dynamic changes and distorted echo effects. The tempo is never changed in the piece, although it may seem to do so due to fluctuations of texture, energy, meter, and style. The conclusion of the piece returns to its initial material in a retrograde fashion. This work's most attractive feature may be its mix of varying styles and constant developing variation with the purpose of creating an atmosphere of constant change and evolution.

Concert Music For Orchestra- Thomas Joseph

Impromptu for Trumpet is a transcription of Impromptu for Horn with some subtle differences regarding muting and register choices. Impromptu for Horn was the starting point in my aspiration to create a collection of unaccompanied solo pieces. While I plan to write something originally trumpet inspired, as a solo piece, I felt the still challenging trumpet solo was a suitable springboard to offset its suggestively harder horn counterpart. As its name suggests, the piece is to sound improvised or better yet, as an extended cadenza. Different characters are explored ranging from sometimes fanfare-like, in some moments expressive and slower, and in other instances swift and agile. 

Performed by Jimmy Whittemore

Impromptu For Solo Trumpet (Live Performance) By Thomas Joseph

I composed this piece at age 14 and it was performed and recorded by the Tidewater Winds of Norfolk. 

Mystic Elements (2003) for Concert Band.

Premiered/Live Recorded Dec. 1, 2013, by Dr. James Hall (Trombone) and Stephen Coxe (Piano) at Old Dominion University.

Program Notes: The horn player in me makes it difficult for me to admit, simply, I think the trombone is a beast, a monster, a force to be reckoned with. The word beast has many connotations and is explored in this concert work for solo trombone and piano. Trombone Beast Suite also is based on the visage of some powerful animal, like a lion, being inspired somewhat by Blake’s The Tyger, and each movement displays a particular characteristic. “Tempered Beast” (the prelude) explores the potential energy and power that remains dormant. “Wild Beast” (dance) is a fury of primitive spirit without any aggression or brutality. “Sleeping Beast” (lullaby) is simply the beast asleep, which has a much more beautiful quality then its dormant and restrained self. “Naughty Beast” (waltz) is comical, humorous and can be described as a cute little lion cub meandering around. How curious is this cat? “Raging Beast” (toccata) explores the unrelenting power, strength, and ferocity of a beast.

I. Tempered Beast (Prelude) II. Wild Beast (Dance) III. Sleeping Beast (Lullaby) IV. Naughty Beast (Waltz) V. Raging Beast (Toccata)

Trombone Beast(Live Performance) By Thomas Joseph

Live Performance (original version): By Pete Echols– Old Dominion University.

Program Notes: Solitude was composed as a personal ongoing aspiration of composing unaccompanied concert pieces for many instruments. The opening motive of Solitude manifested itself simply while standing in an empty parking lot. At the time I went through many iterations of composing the piece in my head, however I didn’t follow through until more than half a year later. Solitude deals with the emotions of isolation including loneliness, depression, anger, sadness, hopelessness, nostalgia, and fear. Instead of being episodic, these emotions and dark feelings coincide with one another. The work has small bursts of perhaps moving forward but always dives back into its lament. In the end, the opening motive returns to reaffirm the perpetual state.

Solitude For Euphonium (Live Performance)

Hypnic is an art song for solo soprano and piano
Original Poetry: Josephine Cariño
Soprano: Kirstie Mosher
Pianist: Thomas Joseph
Composer: Thomas Joseph

Hypnic (Live-raw) Kirstie Mosher(Soprano), Thomas Joseph(Composer/Piano), Josephine Cariño (Poetry)

Scatter Plot is a work for Pierrot Ensemble (Flute, Clarinet, Marimba, Piano, Violin, and Violoncello. 

Scatter Plot does not directly rely on common thematic material between instruments. Like the accompanying poem, performers are to seek correlation and a line of just fit for themselves, however tangible or intangible, direct or indirect those things may be.

This recording is a reading performed by American Modern Ensemble on February 23, 2017 during their residency at Shenandoah Conservatory. Recording and mixing by Christopher Fenton. Much appreciation and thanks to them.

Scatter Plot (Reading)

Temper, Sigh, Release (Sinfonietta Reading)
April 10, 2017, Shenandoah University

Temper, Sigh, Release(READING)

Choir Reading, Excerpts, Shenandoah Conservatory.

Helium Flash treats the choir as an instrumental ensemble, exploring timbres, tension filled sororities and textures.  It is based on a pinch-burst gesture, or small bursts of condensed pressure that build over time. Eventually the bursts reach a climax and unravel into a less structured environment before returning to its original atmosphere.

Helium Flash: Reading/Excerpts (Choir SSSAAATTTBBB)-- Thomas Joseph

C.B.T. (Cognitive Behavior Theory) excerpts.
Reading

Thomas Joseph's Album

C.B.T (Cognitive Behavior Therapy) Reading/Short Excerpts

Composer, Conductor, Music Instructor. 
MM: Music Composition from Shenandoah Conservatory. 
BM: Music Composition from Old Dominion University.

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