This is the digital audio file processed by Finale with Garritan Sounds and Tapspace Percussion.

-----

Luí na Gréine (Sunset) is the final culmination of the work above, Autumn Horizon. After having written the saxophone quartet only to receive no performance, I chose to expand the work out to a full ensemble. The original idea was to do a direct transcription of the piece, and name it Autumn Horizon (for Band). However as the work progressed, I began to tweak small things in the harmony and melody, having more freedom to do so with the various timbres and ranges provided by the larger ensemble. After various modifications (and adding in an entirely new section), I began to show this work to friends for critique and review. Multiple people noted how, to them, it felt more like a sunset by the sea, and one person noted how the end reminded them more of bagpipes than a small woodwind choir. After hearing their reasoning, I began to see their interpretation and started editing other things in the work to reflect this new direction.

Luí na Gréine

Luí na Gréine (Sunset) is the final culmination of my previous work, Autumn Horizon. After having written the saxophone quartet only to receive no performance, I chose to expand the work out to a full ensemble. The original idea was to do a direct transcription of the piece, and name it Autumn Horizon (for Band). However as the work progressed, I began to tweak small things in the harmony and melody, having more freedom to do so with the various timbres and ranges provided by the larger ensemble. After various modifications (and adding in an entirely new section), I began to show this work to friends for critique and review. Multiple people noted how, to them, it felt more like a sunset by the sea, and one person noted how the end reminded them more of bagpipes than a small woodwind choir. After hearing their reasoning, I began to see their interpretation and started editing other things in the work to reflect this new direction.

Performed Live by the Winds of the Mountain Empire, July 20, 2014.

Luí na Gréine (Live)

This is the live recording as performed by the 2016 Summer Music Conservatory.

-----	

	In the spring of 2015, I was approached by the Director of Bands at the University of Virginia's College at Wise, Mr. Richard Galyean, to compose a march in honor of the 10th Annual Summer Music Conservatory hosted in coordination with the UVa-Wise Music Division. The conservatory is open to high school students across the region, and students who attend are treated to a week-long music workshop culminating in a performance at the end of the week.

		I wanted to write a march that, from my experiences with the program, encompassed the Summer Music Conservatory. At the time of composition there was a recurring theme each year that the conservatory should focus upon a particular musician of merit, be that Bach, Beethoven, or Brahms. Similarly, I wanted to make the focus of the march a celebration of a composer in its own right. It was only appropriate that such a celebration honor the march king himself, John Phillips Sousa.

		CONSERVATORY MARCH is full of Sousa flair, while still maintaining a truly original melody and heir. Throughout the work you will hear harmonic lines from Sousa marches including The Washington Post, The Liberty Bell, and Semper Fidelis. The form of this march is also unique in that it does not include a dogfight; Rather, the trio is played three times in succession with building entrances with each repeat. This makes for a nice counter to the first two sections, while gradually driving towards a big ending stinger.


Conservatory March (Live)

This is the digital audio file processed by Finale with Garritan Sounds and Tapspace Percussion.

---

In the spring of 2015, I was approached by the Director of Bands at the University of Virginia's College at Wise, Mr. Richard Galyean, to compose a march in honor of the 10th Annual Summer Music Conservatory hosted in coordination with the UVa-Wise Music Division. The conservatory is open to high school students across the region, and students who attend are treated to a week-long music workshop culminating in a performance at the end of the week.

I wanted to write a march that, from my experiences with the program, encompassed the Summer Music Conservatory. At the time of composition there was a recurring theme each year that the conservatory should focus upon a particular musician of merit, be that Bach, Beethoven, or Brahms. Similarly, I wanted to make the focus of the march a celebration of a composer in its own right. It was only appropriate that such a celebration honor the march king himself, John Phillips Sousa.

CONSERVATORY MARCH is full of Sousa flair, while still maintaining a truly original melody and heir. Throughout the work you will hear harmonic lines from Sousa marches including The Washington Post, The Liberty Bell, and Semper Fidelis. The form of this march is also unique in that it does not include a dogfight; Rather, the trio is played three times in succession with building entrances with each repeat. This makes for a nice counter to the first two sections, while gradually driving towards a big ending stinger.

Wes H.