The world premiere of To Right Our Wrongs, performed by The Naperville Winds, conducted by Dr. Sean Kelley on October 7th, 2021. To Right Our Wrongs was composed for The Kneel Consortium.

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To Right Our Wrongs

What We've Been Taught to Do With Death for wind ensemble. World premiere performance by the Wichita State University Wind Ensemble, conducted by Dr. Timothy Shade. To learn more about this work and peruse a score, check it out here: https://harrisonjcollins.squarespace.com/what-weve-been-taught-to-do-with-death

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What We've Been Taught To Do With Death

Fanfare for Wild Youthful Occasions for wind ensemble. Performed by the Texas Christian University Symphonic Band, conducted by Brian Youngblood. To learn more about this work and peruse a score, check it out here: https://harrisonjcollins.squarespace.com/fanfare-for-wild-youthful-occasions

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Fanfare For Wild Youthful Occasions

These Radiant Moments for wind ensemble. Performed by the Texas Christian University Wind Symphony, conducted by Bobby Francis. To learn more about this work and peruse a score, check it out here: https://harrisonjcollins.squarespace.com/these-radiant-moments

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These Radiant Moments

I think this kaleidoscope is broken - Tyler Jones

Fracas - Concert Band, Grade 3.5, Randall Standridge

Hey You! - Concert Band, Grade 1, Tyler Mazone

Golden Embers (Tyler Mazone, Concert Band, Grade 3)

Bonus Round was commissioned by Mark Lauer and premiered at the 2024 International Double Reed Society Conference in Flagstaff, Arizona, USA by Mark Lauer and Aimee Fincher.

Bonus Round

performed by the Michigan State University Symphony Orchestra
Zhongheng Zhang, conductor

Korat (Orchestra)

O rose of May, performed by the Marjory Stoneman Douglas High School Wind Symphony, conducted by Alex Kaminsky at the 2018 Midwest Clinic in Chicago, Illinois.

Read the score here: https://harrisonjcollins.squarespace.com/o-rose-of-may

O rose of May is a musical response to Hamlet, the world famous and deeply influential play by William Shakespeare. The work focuses on the character arc of Ophelia, Hamlet’s would-be love interest, and her internal struggle amongst the external conflict of the play. Represented by a solo clarinetist, Ophelia is depicted as singing a solitary, peaceful song in the opening of the work. After this introduction, an agitated melody takes over, representative of the conflict between the characters of the play. Ophelia’s song reappears - but every time it is more and more twisted. A brief respite suggests relief from the conflict, but the song is unable to begin again. It bends to the will of the conflict, the voices of the surrounding characters overpower her, and as Ophelia descends into madness, her song becomes a hysterical celebration. The final bars are a wild chromatic descent into the last note of the work- a reflection on Ophelia’s final moments, falling from her tree branch into the brook in which she drowns.

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Copyright Harrison J. Collins 2018

Korat (Orchestra)

Tyler Mazone

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Allister J. McGuire

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