Black Pierrot

Commissioned by conductor Paul Crabb for the University of Missouri University Singers and the Mizzou New Music Ensemble (Stefan Freund, director) with funding from the Sinquefield Charitable Foundation through the Mizzou New Music Initiative. Based on seven poems by Langston Hughes, it is scored for SATB Chorus (divisi) and Chamber Ensemble (Flute, Clarinet, Violin, Violoncello, Percussion, and Piano). Duration: 32:30 Contents: 1. A Black Pierrot 2. Breath of a Rose 3. Jazzonia 4. Justice 5. Song for a Dark Girl 6. Silhouette 7. To a Dead Friend

Jazzonia : From Black Pierrot

From the large work Black Pierrot, Jazzonia (1923) describes the scene in a Harlem café of the 1920s in which “six long-headed jazzers play,” and beautiful girls dance. After a short introductory section, the music moves into a lively ragtime—complete with drum set—that forms the background for the remainder of the piece. Altogether, it is something of a poetic and musical glance at the era of the Harlem Renaissance in which so much African-American music, art, and poetry emerged as vital forces in the arts. Duration: 4:30

Diction : Third Edition

Black Pierrot

Black Pierrot

The Hildegard Organ Cycle : 2nd Edition

The Story of Randall Thompson's Alleluia Revisited : A Facsimile Edition with Commentary

Little Black Book : A song cycle that fails the Bechdel Test

Everyone Sang Four Songs for Bass and Piano

The songs Homecoming and Quilt were commissioned by the West Chester University Poetry Conference, West Chester, Pennsylvania, and were premiered by baritone Robert Barefield and pianist Carl Cranmer on June 7, 2003. Entrance was written in July, 2003 for inclusion in this set of songs. The song Everyone Sang was premiered by Maris Vipulis and pianist Marc Shapiro on April 16, 1998. The four songs are each dedicated to four singer-friends of the composer. The edition for low voice was prepared especially for bass Matt Boehler. Duration: 13:00

Ancient Airs and Dances : Suite No. 1

A transcription of the first suite to one of Respighi’s most famous and much-beloved works. The orchestral suite itself is a transcription of sixteenth-century lute works, of which Respighi also transcribed for piano 2- and 4-hands. The transcriber of this edition used the orchestral setting in order to match the orchestral instruments to their corresponding organ stops with as much accuracy as possible. The transciption is idiomatic and a delight to play. The first three movements are accessible while the fourth will require more practice time. The movements could be performed alone or with one another and would give an audience a unique and pleasant concert experience.Duration: 15:00

On Recollecting

These songs were commissioned by the Mohawk Trail Concerts in Charlemont, Massachusetts in honor of Ruth Lloyd Black, their co-founder. The first performance was on August 30, 2015, soon after her death. My recollections of Ruth over some sixty years of friendship were a mixture of laughter and tears. She was a tireless advocate of chamber music, a fine musician, and possessor of a delightfully British sense of humor. Emily Dickinson has her tongue firmly in her cheek in these poems. There is serious purpose under the lyrics, but the surface is pure word-play. She juggles the terms “forgetting” and “recollecting” in each poem until they almost take each other’s meaning. The firstpoem may have accompanied a gift of flowers to a grieving neighbor: she shares the grief, but assuages it with humor. The first statement of “blithe” fingers should be happy, the second drenched in sorrow. I love the way the second poem opens like a puzzle: is she forgetting to remember, or remembering to forget? In either case, it ends with the touching image of a lost child. She continues to confuse us in the third song: is it sunrise or sunset that is “the other one?” The setting sun is her subject in many wonderful poems: here, she would rather “die divinely” in glorious color (echoes of Sarah Bernhardt?) than merely wane away. -Alice Parker