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)

Through The Dark Times DEMO

something deeply hidden (2020) for orchestra

Recording: Oberlin Conservatory Symphony Orchestra, conducted by Raphael Jimenez

something deeply hidden was commissioned by and written for Thomas Heuser and the San Juan Symphony with the support of The Durango Herald Newspaper to honor Ludwig van Beethoven’s 250th Birthday. The title comes from a quote in Albert Einstein’s Autobiographical Notes: “…Something deeply hidden had to be behind things.” Music is a brief glimpse into our shared humanity, with all of its breathless beauty, all of its intense joy and deep sorrow, and all of its ugliness and violence too. In Beethoven’s work we get a glimpse of someone who felt especially deeply—a glimpse into a person whose passion and urgency and hope for what was possible in the world seemed to pour out of him like an endless fountain. One of my own first formative experiences with Classical music began with Beethoven, stumbling on to a dusty recording of his Fifth Symphony pulled from the discount bin of an electronics superstore that opened up a world of musical possibilities for me. In Beethoven’s Third Symphony, Eroica, the heroic opening often gives way to music of heartrending melancholy, most notably in the funeral march of the second movement, revealing a darker meaning beneath the bright surface. I see Albert Einstein’s pursuits in physics as related to Beethoven’s—a continual searching for something deeply hidden. For me, this piece is a parallel universe to Eroica—a musing that starts with some of the same musical material but takes it in a very different direction. The darker material of the funeral march opens the piece and is stretched and pulled, gradually revealing an even darker core that eventually churns and spins into light.

More information: https://davidbiedenbender.com/work/something-deeply-hidden/

something deeply hidden

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

Through The Dark Times DEMO

Tyler Mazone

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