Chamber Works - Adrienne Albert, Composer
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CHAMBER WORKS



Americana Quartet (2008)

flute, violin, viola, cello
Duration: ca.12:00
Published by Kenter Canyon Music (ASCAP)

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Commissioned by Chamber Music Palisades (Delores Stevens and Susan Greenberg, co-founders and directors) in 2008, Americana Quartet began its development when I was fortunate to have been granted a residency at the Ucross Foundation in Wyoming in the fall of 2007.  An idyllic setting for creative thought, the environment at Ucross is perfectly suited to freely allow thoughts to gather, develop, throw away, discover, re-discover, blossom and develop.  In addition to the blissful energy of discovery, the Ucross Foundation is situated in the high mountains/desert plains of North Central Wyoming.  Antelopes and deer freely roam; birds soar and, unfortunately, sometimes hunters hunt.  Through the combination of experiences, seeds of this work developed and were formed  The western/ Appalachian feel of the fiddle tune and rhythmic playfulness of the piece emerged.  Then, from Wyoming and its idyllic setting, I went to New York with its jazz flavored energy and influences.  What could be more American than Boogie Woogie and Appalachian flavors.  Hence, Americana Quartet came into being.  The works is approximately 12 minutes long and can be performed in sections, although it is preferable to perform it in its entirety for the full Americana experience

Animalogy (2006)

Winner
Woodwind Quintet for flute, oboe, clarinet, horn, bassoon
Duration: ca. 7:30
Published by Kenter Canyon Music (ASCAP)

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ANIMA-in Jungian psychology, the true inner self as opposed to the outer persona.

Animalogy (n.): The not-very-serious study of the many varieties of animals found in their natural habitats in and around the Kenai Peninsula in Alaska as viewed through the eyes and ears of this human animal/composer during her myriad adventures throughout the area. A musical portrait of the various creatures living and procreating in the Kenai Peninsula including, but not limited to, the many varieties of birds, bald eagles, bears, moose(s), sheep, wolves, and sea life that inhabit this spectacular piece of real estate. It is up to you, the listener and performer, to catch glimpses of the various animals as they go about their daily tasks and pleasures.

Animalogy was commissioned in 2006 for the Continental Harmony Project, Alaska, generously funded by the National Endowment for the Arts and The American Composers Forum. It is the middle movement of An Alaskan Symphony that is scored for full orchestra, woodwind quintet and choir and orchestra. Animalogy was premiered at The Pratt Museum in Homer, AK June 16th, 2006. The complete Alaskan Symphony was premiered in Homer and Kenai, Alaska in April of 2007 by the Kenai Peninsula Orchestra and choirs under the direction of Mark Robinson. Animalogy is a winner of the 2007 Aeros Quintet Competition and will be performed in Carnegie Hall's Zankel Hall on May 5, 2008.


Bassoonet Boogie (2003)

Duet for Clarinet and Bassoon
Duration: approx 3:50
Published by Kenter Canyon Music (ASCAP)
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A playful and deliciously fun piece for clarinet and bassoon with an ending that will surprise and amuse. Boogie Woogie for the new Millennium.


BassooNova (2013)

Solo Bassoon
Duration: approx 5:00
Published by Kenter Canyon Music (ASCAP)
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Commissioned by Andrew Moore, a senior at Miami University at Oxford, Ohio, this unaccompanied bassoon piece has the feel of a bossa nova and should delight players and audiences. Andrew premiered the work in his senior recital in the spring of 2013.


Between The Dark And Daylight (2007)

Flute, violin, clarinet, cello, piano
Duration: approx 18:00
Published by Kenter Canyon Music (ASCAP)

The three movements are titled:
1. Nightdreams
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Purchase all 3 movements and save!
2. Lullaby
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3. Daydreams
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I am deeply indebted to Ursula Krummel for commissioning this work and to Mark Carlson, Music Director of Pacific Serenades, for the wonderful opportunity to compose this work for his award-winning chamber music series. In preparation for composing Between the dark and daylight, I listened to Cds of lullabies and nursery songs from around the world. Besides the universality of the message, I was fascinated to find that at the most basic level, the musical intervals found in the earliest children’s songs are very similar. When a child cries out to its mother, it uses the downward minor third to cry Mama. Those notes, (I think of G for Good, E for Earth) recur throughout the entire work. The work, scored for flute, violin, viola, cello and harp, is in three sections (or movements) although I think of it as through composed. The first section, Nightdreams, begins with the descending minor third interval played by the viola (I love inner voices) and builds as each instrument enters to a dramatic high pitch. It then begins to move through a kaleidoscope of cultures. A pentatonic scale has the feeling of Chinese voices; tango rhythms appear to take the listener to South American countries; snippets of other cultures take shape and meld into the next. The second section, Lullaby, is a gentle song featuring the voices of the individual instruments. As my former musical life included being a singer, I ask myself if each musical line can be sung and if so, then it follows that it should sound good on an instrument. Although I wrote the notes, the shape and intention of the music can only come to life through the collaborative process of the musicians interpreting what I have written and to that end, I am extremely fortunate to have such marvelous musicians premiering my work. The third and final section, Daydreams, begins again with the minor third interval and weaves through a playful variety of children’s tunes from European countries. There’s even a bit of Brahms lullaby thrown in. It will be fun to see how many tunes the audience can recognize as they fly by. Composing this work surprised me as it progressed. I thought it would be a serious statement on the future that looms for our children’s children. As it turned out, there is a great deal of hope and frivolity. Go figure! By the way, sometimes titles of pieces come easily (that’s when the piece seems to “write itself”). Other times, there is angst over what the title should be. That was the case with this piece until I remembered that I had sung and recorded a beautiful Charles Ives song titled “The Children’s Hour’, and the first line of the poem by Henry Wadsworth Longfellow is, “Beyond the dark and the daylight”.

Boundaries (1994)

String Quintet for 2 vln, vla, cello, bass
Duration: approx 4:46
Published by Kenter Canyon Music (ASCAP)

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Written for and premiered by The Salieri String Quintet in Seattle, WA, 1994
A strong, bold, tonal work which had its genesis from a boundary dispute I was having with a neighbor. The piece is also appropriate for string orchestra.

Boundaries 2 (1994)
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Piano Trio for vln, cello, pn
Duration: approx 5:04


Clarinets Boogie (2005)
Duet for Clarinet and Bass Clarinet
Duration: 4:00
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Transcribed from Bassoonet Boogie, Clarinets Boogie is a playful and deliciously fun piece for clarinet and bass clarinet with an ending that will surprise and amuse. A real audience pleaser.

Circadia (2002)
Three movements for Bassoon and Piano
Duration: approx 18:00

Published by Kenter Canyon Music (ASCAP)
Circadia is also available for Baritone Saxophone and Piano
The three movements are titled:
1. Cycles
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Commissioned by Carolyn Beck, "Circadia", a sonata for bassoon and piano in three movements, refers to the daily pulse, rhythms and cycle of activities observed in many living organisms. The first movement, "Cycles", is a wild and disjointed chase between the instruments. The cyclic rhythms vary between a triplet motif with the bassoon both chasing and being chased by the piano, and a more jazzy section with the two instruments figuratively and literally playing with one another. The movement ends with the instruments playing the original motif ensemble.
 
2. Nightfall
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Since the horrible events of 9/11, our world seem to be moving with harrowing speed toward the precipice of Armageddon. The second movement, "Nightfall", is a reflective, melancholy and brooding piece which mirrors the descent from day into night. Finally "Spring Ahead" (which refers to the change to daylight savings time in the spring) is a ray of hope in which bassoon and piano have fun cavorting and playing tricks on one another.
 
3. Spring Ahead
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Lori Alexander, composer writes: "Your piece was rich with ideas... very full harmonically, and melodically:... A very, very substantial, moving and impressive work. Congratulations!"

Circadia (2009)
Three movements for Baritone Saxophone and Piano
Duration: approx 18:00

Published by Kenter Canyon Music (ASCAP)
Circadia is also available for Bassoon and Piano

The three movements are titled:
1. Cycles
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Originally commissioned by Carolyn Beck for bassoon and piano, this version of "Circadia" for baritone saxophone and piano was performed by Wayne Leechford at the World Saxophone Congress in St. Andrews, Scotland, July 2012. "Circadia" refers to the daily pulse, rhythms and cycle of activities observed in many living organisms. The first movement, "Cycles", is a wild and disjointed chase between the instruments. The cyclic rhythms vary between a triplet motif with the bassoon both chasing and being chased by the piano, and a more jazzy section with the two instruments figuratively and literally playing with one another. The movement ends with the instruments playing the original motif ensemble. A recording of the Baritone Saxophone version is in the works!
 
2. Nightfall
Listen / View Score
Since the horrible events of 9/11, our world seem to be moving with harrowing speed toward the precipice of Armageddon. The second movement, "Nightfall", is a reflective, melancholy and brooding piece which mirrors the descent from day into night. Finally "Spring Ahead" (which refers to the change to daylight savings time in the spring) is a ray of hope in which bassoon and piano have fun cavorting and playing tricks on one another.
 
3. Spring Ahead
Listen / View Score
Lori Alexander, composer writes: "Your piece was rich with ideas... very full harmonically, and melodically:... A very, very substantial, moving and impressive work. Congratulations!"


CT Tango Nuevo
(2008)
alto flute, guitar
Duration: ca. 4:30
Published by Kenter Canyon Music (ASCAP)

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An adaptation of LA Tango Nuevo, the commissioners of the original piece, Corey Whitehead and Alan Durst, likened the work to a Rock/ Tango/ Aria. Transcribed for Helen Rosenblatt, flutist, of Blackledgemusic, "CT. Tango Nuevo" combines a rock rhythmic ostinato with elements of lyricism. Happily, the work has been chosen to be performed for the Celebrazioni Trentennale Della Fondazione Adkins Chiti: Donne In Musica in Rome in November, 2008. It is the only work chosen from the USA for this concert of Music of Three Americas. The rhythmic backdrop set by the guitar from the onset is one that is driving; taking advantage of the guitar's percussive abilities and nuance. I thought the alto flute would sound beautiful as it floats above the guitar in a care-free, yet lyrical melody. The development section of the piece is reminiscent of tango through the single note arpeggiated guitar accompaniment and melodic content of the alto flute. At the return of the A section, CT. Tango Nuevo drives to the end with energy and excitement.


Daydreams (2007)
flute, violin, viola, cello harp
Duration: approx 5:40
Published by Kenter Canyon Music (ASCAP)

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Daydreams, the last movement of the chamber work titled "Between the dark and daylight" begins with the minor third interval and weaves through a playful variety of children's tunes from European countries. There's even a bit of Brahms lullaby thrown in. This will be a terrific work for school outreach concerts and will be fun to see how many tunes the audience can recognize as they fly by. Composing this work surprised me as it progressed. I thought it would be a serious statement on the future that looms for our children's children. As it turned out, there is a great deal of hope and frivolity.

Doppler Effect (1998)
flute, viola, harp
Duration: approx 6'
Published by Kenter Canyon Music (ASCAP)

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Review from LucidCulture: 01/19/2014: Last night in the Lincoln Center neighborhood, the Fire Pink Trio defied the deep freeze with a fascinating performance that was by turns lively, kinetic and balmy, sponsored by the New York Viola Society. Flutist Debra Reuter-Pivetta, violist Sheila Browne and concert harpist Jacquelyn Bartlett began the evening with Doppler Effect, by Adrienne Albert. Essentially, what the composer does with the effect is very clever – she turns it into a vamp, which the trio latched onto with a verve that matched Albert’s intention of evoking a busy pedestrian plaza in Rome, and the challenge of finding calm amidst the bustle. This purposeful and nonchalantly catchy piece gave Reuter-Pivetta and Browne a chance to air out their resonant lower registers against Bartlett’s rhythmic drive, with some droll glissandoing doppler effects finally appearing as the bluster reached a crescendo.

The notion of writing a piece based on the findings of an Austrian mathematician who observed the increase and decrease in the pitch of sound when the source and observer are getting closer or further apart came to me while traveling through Italy and hearing the myriad sirens passing by through the dense traffic. The motif descends by a minor second returning to the original harmony combined with the repeated minor seconds portraying the incessant sounds of car horns. The melodic lines portray the vibrancy and sensuality of the people in contrast to the craziness around them.

Premiered by Entr'Amis, Jim Lasota, Flute, Mary Dropkin, Harp, Dmitri Bovaird, Viola
At the Neighborhood Church, Pasadena, CA July 26, 1998


Doppler Effect (2003)
flute, bassoon, harp
Duration: approx 6'
Published by Kenter Canyon Music (ASCAP)

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Premiered by Susan Greenberg, flute, David Riddles, bassoon, Gayle Levant, harp
Santa Monica, CA April 27, 2003
Please see notes above.


Doppler Effect (2003)
Sop sax, cello, piano
Duration: approx 6'
Published by Kenter Canyon Music (ASCAP)

Please see notes from Doppler Effect, (1998)
Score and RealAudio will be set up soon.


Doppler Effect (2005)
Version for flute, bassoon, piano
Duration: approx 6:00
Listen / View Score
Please see notes from Doppler Effect, (1998)
Score and Audio will be set up soon.


Doppler Effect (2005)
Version for violin,cello, piano
Duration: approx 6:00

Please see notes from Doppler Effect, (1998)
Score and Audio will be set up soon.


Doppler Effect (2006)
Version for flute, 'cello and harp
Duration: approx 6:00
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This version of Doppler Effect was adapted for two wonderful flute, 'cello and harp trios: Trio Carisma (Anna Stoddart, flute, Janice Preece, harp, Louise King, 'cello) in Brisbane, Australia and Trio Calisto (Linda Chatterton, Flute, Sally Gibson Dorer, Cello , and Min Kim, Harp) in Minnesota. Carisma has recorded Doppler Effect on their beautiful new CD on ABC Classics titled Lily's Eyes. To purchase this CD, click here.

Doppler Effect (v. 2006)
for flute, alto flute, piano
Duration: approx 6'
Published by Kenter Canyon Music (ASCAP)

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This version of Doppler Effect was commissioned by Duo Viva, Alice Lenaghan, alto flute, and Mihoko Watanabe, flute and was premiered at The National Flute Association Convention in Pittsburgh, PA on August 11, 2006. This version has been recorded by Duo Viva on a CD aptly titled "Doppler Effect" and was released by Little Piper. Please see more information about the work under the original version of Doppler Effect for flute, viola and harp.

Doppler Effect (v. 2008)
for flute, clarinet, and piano
Also available for flute, alto saxophone and piano
Duration: approx 6'
Published by Kenter Canyon Music (ASCAP)
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Transcribed for Palisades Virtuosi for a concert in March, 2008, this version brings the number of Doppler Effect versions out in the world to 9! Actually, with the alto sax version, the number has jumped to 10! We are keeping counthere:-)!

Doppler Effect (v. 2010)
for flute, french horn, and piano
Also available for flute, bass clarinet and piano
Duration: approx 6'
Published by Kenter Canyon Music (ASCAP)
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Transcribed for the Zinkali Trio in New York, this version brings the number of Doppler Effect versions out in the world to 11.

Doppler Effect (v. 2011)
for flute, cello, and piano
Also available for flute, bassoon and piano
Duration: approx 6'
Published by Kenter Canyon Music (ASCAP)

This is the latest, hot-off-the-presses version of Doppler Effect. Transcribed for The Rouseau Trio, this version brings the number of Doppler Effect versions to 12, and with the newest version for flute, bassoon and piano, the number has jumped to a Bakers Dozen and still counting!

Elegy (2010)
for two cellos
Duration: approx 5'
Published by Kenter Canyon Music (ASCAP)
Score and mp3 file will be put up shortly
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"Elegy" is a beautiful, elegiac work dedicated to a dear friend who died suddenly. In her memory, I have written this short but intensely personal homage to a lost friend. The marvelous cellists, Ruslan Biryukov and Maksim Velichken (both students of Rostropovich) premiered this work in August, 2010 at the Steinway Concerts in the Canyon series.

Eastern Hymn (2009)
for Saxophone Quartet
Duration: ca. 8'
Published by Kenter Canyon Music (ASCAP)

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Eastern Hymn (2009) for Saxophone Quartet began as a study in combining singing and playing instruments simultaneously. As a former singer, I am intrigued by the influence the voice has on producing sound in pitched instruments. Through this process evolved the sound of a drone like instrument as in middle Eastern music. As the world gets increasingly smaller and cultures become more intertwined, the progress of cross-pollenating musical genres becomes more evident. Eastern Hymn is the cross pollenation of the East and the West, i.e. Indian ragas and Western jazz, a tradition I grew up with (the Western part!) and the music I love to listen to. This work is dedicated to Dr. Alan Durst and the California State University Fresno Saxophone Quartet.

FANFARE FOR 13 BRASS (1998)
4 hn, 4 tpt, 4 tbn, 1 tuba
Duration: approx 3:30
Published by Kenter Canyon Music (ASCAP)

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Commissioned for The Hollywood Brass Ensemble which premiered the work at a Pacific Composers Forum concert in Pasadena, CA in June of 1998.
A bold, melodic, rhythmic fanfare which features each brass section. Trumpet solos. Great for a call from Intermission or a program opener/filler.


Fantasia (2002)
Clarinet and Piano
Duration: approx 9:30
Published by Kenter Canyon Music (ASCAP)
Version for Bass Clarinet and Piano is also available (2012)
Fantasia (v. 2013)
is now available for Alto Saxophone and piano
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"Fantasia" (2002) was composed for the superb saxophonist (and clarinetist), Doug Masek. Among the many advantages of writing a work for a specific musician is that it allows the work to evolve into an extension of his or her own voice I had originally intended to write this work for saxophone, but as Doug and I worked together, it became clear that the perfect voice for this piece at that time was the clarinet. With its mood shifts, rhythmic changes, and harmonic and melodic surprises, it is a challenging and fun piece for both the clarinetist and the pianist. Too often, the piano is left as a step-child to the solo instrument. This work explores the colors of both the clarinet and piano, has jazz and Latin influences and challenges the players to listen to one another. In the spring of 2013, the wonderful alto saxophonist and DMA student at USC AND student of Doug Masek, Chika Inoue, performed the new version for alto sax with Mary Au, pianist.

Fanta+z for Harp and Chamber Ensemble (2002)

hp, fl, CL, vln, vla, cello, bass
Duration: approx 4:30

Published by Kenter Canyon Music (ASCAP)
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Commissioned by Corky Hale Stoller. Premiered by Marcia Dickstein of The Debussy Trio in 2002with the Young Musicians Foundation Orchestra in Beverly Hills, CA.

Using the orchestration of Ravel's Introduction and Allegro plus jazz bass, I have fashioned this work as a lyrical blending of European classical music with American Jazz. Not usually known as a jazz instrument, the harp crosses musical boundaries and playfully works both sides of the musical aisle. A fun, challenging piece for a harpist with a written out cadenza with plenty of room for improvisation
.

Fluttering Fronds (version 2014)
for unaccompanied cello
Duration: approx 5:30
Published by Kenter Canyon Music (ASCAP)

A new and interesting transcription of the piece, "Fronds", commissioned by baritone saxman, Wayne Leechford, I found it challenging and exciting to rework the piece for cello. Living in paradise (I live in Southern California although not everyone considers it paradise:-), we am lucky to have two swimming pools on the property where some 80 apartment units are located.  On the bluest and brightest of sunlit days,  I swim and look up at the palm trees swaying in the breeze.  The movements of the palm fronds are hypnotic, swaying in a rhythmic way that I have attempted to translate musically for the cello.

Fronds (2013)
for unaccompanied baritone saxophone
Duration: approx 5:30
Published by Kenter Canyon Music (ASCAP)

Commissioned by baritone saxophonist and friend, Wayne Leechford, "Fronds" came about through my daily workout in the pool and watching the palms blowing in the breeze making different and unusual movements  like dancers in the sky. Living in paradise (I live in Southern California although not everyone considers it paradise:-), we am lucky to have two swimming pools on the property where some 80 apartment units are located.  On the bluest and brightest of sunlit days,  I would do the back stroke and look up at the palm trees swaying in the breeze.  The movements of the palm fronds were hypnotic and they swayed in a rhythmic way that I have attempted to translate into the sounds of the baritone saxophone.  

Global Warming (revised 2007)
Sonata in Four movements for horn and piano
Duration: approx 13:00
Published by Kenter Canyon Music (ASCAP)

The four movements are titled:

1. Temperature Rising
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2. Ice Melting
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3. Spring Fever
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4. Windmills
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This work was given its premiere under the title of "Climate Control" at The Church of The Lighted Window, La Canada, CA. In April, 2001 with Nathan Cambell, horn, and David Rubinstein, piano. Most recently as "Global Warming", it had several performances by the wonderful hornist/composer Lydia Busler-Blais from Vermont and pianist, Mary Au and will have its East Coast premiere in January, 2014 but the fabulous Susan LaFever, horn and Ron Levy, piano.

Since most of my music is programmatic by nature, it seems prescient that I titled this work "Climate Control" back in 2001 at its premiere. In revising the work, I retitled it "Global Warming" for obvious reasons. The titles of the movements reflect the moods created within them as well as the foreboding of the possibilities to come. "Temperature Rising" has the horn and piano leaping in octaves to indicate the dire straights our planet is in in with global warming. "Ice Melting" conjures up the melting of the glaciers in Alaska which I have personally witnessed in the six trips I have taken north in 2005 and 2006. This second movement has a brooding, moody quality which foreshadows the calving of the glaciers, literally melting the ice and endangering the animals who thrive on its being there to navigate their landscape. "Spring Fever" is a play on the words and a work which is sprightly and springy but quirky like a child's Slinky toy. The rhythmic imbalances draw the listener to find the challenges within. In the final movement, "Windmills," the piano has a cascading motif of triplets and swirls like the wind sweeping across the desert and the plains. I love the collaboration of writing for and working with musicians. "Global Warming" addresses through music the dire situation we find ourselves in while at the same time being user friendly to both the musicians and the audience. Each of the movements may be played individually.

Images (v.2008)
Piano Trio for vln, cello, pn
Duration: approx 6:00
Published by Kenter Canyon Music (ASCAP)

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Images (a revised version of "Japanese Gardens") is the second of a series of pieces that have a common motif. Growing up in Southern California with its desert and Asian influences prompted the composer to design a garden in her house in the hills with a river of rocks and boulders surrounded by grasses and green plants. "Images" evolved out of the designing of this space. Peaceful, melodic, melancholy and richly textural, this work is suited to compliment most any program.
The marvelous piano trio, Alto Polis, have taken this work on as their own and perform it beautifully in many concert venues.

Interiors (2003)
For string chamber orchestra
Duration: ca. 7:30

Published by Kenter Canyon Music (ASCAP)
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Thanks to Jeannie Pool who created the wonderful concert series, In Praise of Music, Interiors was commissioned for the final concert of the 2002-2003 season. This work is part of a larger work-in-progress for string orchestra. As I envision it at this time (and times always change!), it will be the inner movement of a series of Dialogues. The mood of the work is an outgrowth of our world situation. The opening section engages an inverted interval that suggests memories of our childhood. This motif weaves its way through the instruments and settles into the middle section of triplets like children playing hide and seek. Though the work is pensive and sometimes somber, it also addresses the hopes for our futures and those of our children. Interiors is published by Kenter Canyon Music (ASCAP).

Japanese Gardens (2006)
Piano Trio for vln, cello, pn
Duration: approx 6:00
Published by Kenter Canyon Music (ASCAP)

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Premiered by Barry Socher, Violinist with the Los Angeles Philharmonic, Armen Ksajikian, co-principal cellist with the Los Angeles Chamber Symphony Orchestra and Bryan Pezzone, prominent pianist in the Southern California music scene, "Japanese Gardens" is the second of a series of pieces which have a common motif.

Growing up in Southern California with its desert and Asian influences prompted me to design a garden in my house in the hills with a river of rocks and boulders surrounded by grasses and green plants. "Japanese Gardens" evolved out of the designing of this space. Peaceful, melodic, melancholy and richly textural, this work is suited to compliment most any program.

Japanese Gardens (2006)
Piano Trio for vln, tenor, sax, pn
Duration: approx 6:00
Published by Kenter Canyon Music (ASCAP)

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Growing up in Southern California with its desert and Asian influences prompted me to design a garden in my house in the hills with a river of rocks and boulders surrounded by grasses and green plants. "Japanese Gardens" evolved out of the designing of this space. Peaceful, melodic, melancholy and richly textural, this work is suited to compliment most any program.

Japanese Gardens (2006)
Piano Trio for soprano sax, cello, piano
Duration: approx 6:00
Published by Kenter Canyon Music (ASCAP)

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Growing up in Southern California with its desert and Asian influences prompted me to design a garden in my house in the hills with a river of rocks and boulders surrounded by grasses and green plants. "Japanese Gardens" evolved out of the designing of this space. Peaceful, melodic, melancholy and richly textural, this work is suited to compliment most any program.

L.A. Nuevo Tango (2006)
Duet for Saxophone and Guitar
Also Available for Saxophone and Piano! Revised Version (2012)
Duration: ca. 4'
Published by Kenter Canyon Music (ASCAP)

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"A seriously wonderful disc; excellent choice of music - including great new work by Albert..."
Martin Perlich, (Author "The Art of the Interview"),former Program Director, KCSN-FM/ 88.5 Los Angeles.

"My favorite on [Tangos y Serenatas] is L.A. Tango Nuevo...particularly nice for world music radio formats..."
Hope Munro Smith, KFSR 90.7 FM, Fresno

When Alan Durst and Corey Whitehead approached me to compose a piece for saxophone and guitar, I was thrilled to take on the challenge. As a composer, I love to collaborate with wonderful musicians as my work would never be heard without their sensibilities. Corey and Alan wanted a work that would be appealing to both audiences and musicians, and as the composer I set out to write a piece that would suit their needs. The role of a composer includes drawing musical maps, i.e. think Mapquest and how one gets from point A to point Zed with all the signs inbetween. A competent musician can follow the signs but it is the heart and soul of the great musician who decides what to do with those signs, i.e.slow down, look, listen, get out and enjoy the view. When they first read through L.A. Tango Nuevo, , Corey likened the work to a Rock/ Tango/ Aria. The work combines a rock rhythmic ostinato with elements of lyricism. The rhythmic backdrop set by the guitar from the onset is driving; taking advantage of the guitar's percussive abilities and nuance. The soprano saxophone melody floats above the guitar in a care-free, yet lyrical melody. The development section of the piece is reminiscent of tango through the single note arpeggiated guitar accompaniment and melodic content of the soprano saxophone. At the return of the A section, LA Tango Nuevo drives to the end with energy and excitment. Available on their album, Tangos y Serenatas, on Centaur.

The wonderful saxophonist and guitarists, Doug Masek and Jon Ortiz, recently performed and recorded "L.A. Tango Nuevo" and it will be coming out soon. Also, a new version for soprano saxophone and piano was recently recorded by Doug Masek and Bryan Pezzone, piano. This version can be heard on my CD, "Reflections: Saxophones & Friends" which can be purchased here on my website!

Lament (2010)
for Alto flute and Bassoon
Also scored for Alto Flute and Bass Clarinet; English Horn and Bassoon; English Horn and Bass Clarinet; oboe and Bass Clarinet
Duration: approx 5:00
Published by Kenter Canyon Music (ASCAP)
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The middle movement of the chamber work titled "Menage a Trio". "Lament" is a stand alone work for numerous instrumental duets. The original version is for alto flute and bass clarinet, but it can also be performed on low flutes, alto flute and bassoon, viola and cello and many other beautifully matched voices. An homage to a friend who passed away suddenly, "Lament " is a heartfelt work that speaks to the melancholy loss of a loved one.

Lullaby (2007)
flute, violin, viola, cello, harp
Duration: approx 4:30
Published by Kenter Canyon Music (ASCAP)

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Lullaby, the middle movement of the chamber work titled "Between the dark and daylight". Lullaby is a gentle song featuring the voices of the individual instruments. As my former musical life included being a singer, I ask myself if each musical line can be sung and if so, then it follows that it should sound good on an instrument. Although I wrote the notes, the shape and intention of the music can only come to life through the collaborative process of the musicians interpreting what I have written and to that end, I was extremely fortunate to have such marvelous musicians premiere this work; Mark Carlson, flute, Roberto Cani, violin, James Dunham, viola, David Speltz, cello and Joann Turovsky, harp.

Lullaby (V. 2008)
violin, cello,piano
Duration: approx 4:30
Published by Kenter Canyon Music (ASCAP)

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This version of Lullaby for Piano Trio was requested by my friends from the Pennsylvania Academy of Music, The Newstead Trio, who loved the piece and asked me to transcribe a version for them. Happily, it is getting many performances and seems to be a hit with musicians and audiences alike. The MP3 version you can listen to is by the wonderful Alto Polis Trio recorded in a live performance in 2008. There is also a version for string orchestra.

Lullaby for Three (V. 2011)
c flute, viola, harp
Duration: approx 6:30
Published by Kenter Canyon Music (ASCAP)

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"Lullaby for Three" is an extended version of "Lullaby" . This version is for c flute, viola and harp which I transcribed for a performance by The Debussy Trio. They performed it on a NACUSA/L.A. concert in January, 2012. This version is an extended version of the original with an upbeat middle section that features each of the beautiful instruments of the trio. The MP3 version you can listen to right now is for piano trio and is performed by the wonderful Alto Polis Trio recorded in a live performance in 2008. There is also a version for string orchestra.

Lullaby for Four (V. 2012)
c flute, clarinet, cello and piano
Duration: approx 6:30
Published by Kenter Canyon Music (ASCAP)

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"Lullaby for Four " is the latest version of "Lullaby". This version, for c flute, clarinet, cello and piano was requested by The Sirius Chamber Ensemble in Sydney, Australiafor an upcoming concert on April 4th, 2012. "Lullaby for Four" is an extended version of the original with an upbeat middle section that features each of the four instruments. Until I get a new mp3 version, the MP3 version you can listen to is by the wonderful Alto Polis Trio recorded in a live performance in 2008.


Mazal Tov (2001)
cl, tpt, vln, bass, pno, tenor voice
Duration: approx 5:00
Published by Kenter Canyon Music (ASCAP)

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Commissioned by Dr. Simon Gamer in memory of a friend. A Klezmer type piece, Mazal Tov is a joyful traditional song to be performed at weddings, parties and concerts of celebratory music. Written to be sung by the Rabbi congratulating the joyful union of husband and wife, his piece can also be performed without the vocal part. Not difficult and fun to play.

Menage a Trio (2010)
Three movements for flute/alto flute, clarinet/bass clarinet, bassoon
Also scored for oboe, clarinet/bass clarinet, bassoon
Duration: ca.' 12:00
Published by Kenter Canyon Music (ASCAP)

1. Seaside Sarabande
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2. Lament
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3. Rolling Waves
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"Menage a Trio" for flute, clarinet and bassoon version was premiered by Susan Greenberg, flute and alto flute, Helen Goode-Castro, clarinet/bass clarinet, and Carolyn Beck, bassoon in Santa Monica, CA on July 13, 2010
Menage a Trio” is a work for 3 instruments that began as a series of Baroque-style Inventions.  The first movement, Seaside Sarabande, is based on the Baroque fugue with the instruments joining one another in a playful dance at the seashore.  The second movement, a duet, calls for the lower voices of the flute and clarinet (alto flute and bass clarinet) titled  Lament to Sara (dedicated to my friend who recently passed away whose name happened to be Sara – as in Sarabande).  The final movement returns to the melodic voicing of the first movement with a triplet feel describing Rolling Waves.

MIrror Images (2002)
Transcribed for clarinet quartet
Duration: approx 4:00
Published by Kenter Canyon Music
(ASCAP)
Listen - View Score
A beautiful melody with underlying harmonies that transcend boundaries of classical and pop music, this piece was originally composed for saxophone quartet. The wonderful saxophonist, Doug Masek, first performed the piece in this orchestration under the title, "Four Love". I have since revised the original to correspond with the other transcriptions of the work.

MIrror Images (2002)
Transcribed for saxophone quartet
Duration: approx 4:00
Published by Kenter Canyon Music
(ASCAP)
Listen - View Score
A beautiful melody with underlying harmonies that transcend boundaries of classical and pop music, this piece was originally composed for saxophone quartet. The wonderful saxophonist, Doug Masek, first performed the piece in this orchestration under the title, "Four Love". I have since revised the original to correspond with the other transcriptions of the work.

Mirror Images (2006)
Transcribed for Flute Quartet
2 C Flutes, Alto Flute, Bass Flute
Duration: ca. 4'
Published by Kenter Canyon Music
(ASCAP)
Listen - View Score
A beautiful melody with underlying harmonies that transcend boundaries of classical and pop music, this piece was originally composed for saxophone quartet. The wonderful saxophonist, Doug Masek, first performed the piece in this orchestration under the title, "Four Love". I have since revised the original to correspond with the other transcriptions of the work.

Mirror Images (2008)
Transcribed for String Quartet
Violin1, Violin 2, Viola, Cello
Commissioned by David Katz
Duration: ca. 4'
Published by Kenter Canyon Music
(ASCAP)
Listen - View Score
After David Katz heard the saxophone version of "Mirror Images" up at Cal State University Fresno, he came to me at the end of the concert and asked if I would make a transcription of the work for string quartet. I was delighted to do this as I felt strongly that this lovely work works well for most any group of instruments and of course, the strings are among the most beautiful of all.

Musescapes (2009)
Three movements for Violin, 'Cello, and Piano
Duration: approx 18:00

Published by Kenter Canyon Music (ASCAP)

In three movements titled:

1. Gee Whiz
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"Musescapes" had its beginnings in 2005 when Carol S. Gee, a pianist/photographer with a great love for chamber music commissioned me to write a work for her amateur piano trio. At the time, I was listening to a lot of the music of Astor Piazzolla and thought it would be great fun to write a three movement work with roots in North American jazz and South American tango music.  Since there was no due date for this commission, it languished between periods of composition and longer periods of working on other projects. All the time, I was mulling over titles that I thought appropriate to the material. None seemed to quite fit and, frustrated, I was at a loss as to how to proceed.

Then, The Newstead Trio, a marvelous piano trio with whom I have had a working relationship since the early 00s approached me to compose something for them in honor of the opening year of the new Philip Johnson-designed Pennsylvania Academy of Music Hall in Lancaster, PA, and the lost piece of the puzzle was put into play. Six movements AND a due date later, "Musescapes" popped into my head and seemed the perfect title for this multi-movement work. The muses were at play here, and the scapes (scenes) evolved. The first movement, titled "Gee Whiz" is a jazz-flavored work filled with whimsy and interplay of the violin and cello answering each other’s musical motifs while the piano plays mediator.

2. For My Mother
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During the composing of this work, my mother passed away,  She was a professional violinist and often played chamber music in our home when I was a child.  The second movement titled "For My Mother" became an homage to her. It is a loving, melancholy, melodic work.

3. Ode to Piazzolla
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My fascination for Piazzolla is clearly heard in the third movement, aptly titled “Ode to Piazzolla”.  One of the wonderful things about “Musescapes” is that more pieces are in the drawer, and there will be more “Musescapes” to come!

New York Gardens (2010)
for clarinet, tenor saxophone and piano; also scored for alto sax, tenor sax and piano; English horn, tenor sax and piano
Duration: approx 6:00
Published by Kenter Canyon Music (ASCAP)

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Growing up in Southern California with its desert and Asian influences prompted me to design a garden by my house in the hills with a river of rocks and boulders surrounded by grasses and green plants. The musical work that evolved out of designing this space was a work for violin, cello and piano titled "Japanese Gardens". When I was asked to do a version of this piece for saxophones, I immediately thought of my life in New York with its fast pace and jazzy feel, and this new piece became "New York Gardens". Scored for clarinet, tenor saxophone and piano. Also scored for alto saxophone, tenor saxophone and piano and for English horn, tenor sax and piano.

Nightdreams (2007)
flute, violin, viola, cello, harp
Duration: 7:50
Published by Kenter Canyon Music (ASCAP)

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Nightdreams, the first movement of the chamber work titled "Between the dark and daylight". Nightdreams begins with the descending minor third interval played by the viola (I love inner voices) and builds as each instrument enters to a dramatic high pitch. It then begins to move through a kaleidoscope of cultures. A pentatonic scale has the feeling of Chinese voices; tango rhythms appear to take the listener to South American countries; snippets of other cultures including our own Appalachian mountain region take shape and meld into the next.

Nightfall (2002)
bassoon and piano
Duration: 6'
Published by Kenter Canyon Music (ASCAP)

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The middle movement of my sonata for bassoon and piano, "Circadia", "Nightfall" is a stand-alone piece which is very moving and lyrical. Since the horrible events of 9/11, our world seem to be moving with harrowing speed toward the precipice of Armageddon. "Nightfall", is a reflective, melancholy and brooding piece which mirrors the descent from day into night. A lovely addition to any program.

Nightfall
Version for French horn and piano
Duration: 6'
Published by Kenter Canyon Music (ASCAP)

Listen - View Score
Audio sample and score to arrive soon.
Please find out more about Nightfall by reading the information above.


Nightfall (2003)
Version for cello and piano
Duration: ca.6'
Published by Kenter Canyon Music (ASCAP)

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Originally commissioned by Dr. Carolyn Beck as the second movement of my sonata, "Circadia" for bassoon and piano, I have transcribed this work for the extraordinary cellist, Marek Szpakiewicz, the winner of the 2003 Mu Phi Epsilon International Artists Competition in Cincinnati, Ohio. A DMA candidate at USC and a student of Eleanor Schoenfeld, Marek has won numerous awards internationally and he has chosen "Nightfall" as one of his pieces he will perform nationally over the next two years. Since the horrible events of 9/11, our world seem to be moving with harrowing speed toward the precipice of Armageddon. "Nightfall", is a reflective, melancholy and brooding piece which mirrors the descent from day into night. Marek will record "Nightfall" in the near future so stay tuned!

PasaTango
(2008)
for C flute, guitar
Duration: ca. 4:30
Published by Kenter Canyon Music (ASCAP)

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An adaptation of LA Tango Nuevo, the rhythmic backdrop set by the guitar from the onset is one that is driving; taking advantage of the guitar's percussive abilities and nuance. I thought the flute would sound beautiful as it floats above the guitar in a care-free, yet lyrical melody. The development section of the piece is reminiscent of tango through the single note arpeggiated guitar accompaniment and melodic content of the alto flute. At the return of the A section,Pasa Tango drives to the end with energy and excitement.

Piccolodeon (2011)
for piccolo and piano
Duration: ca. 2:30
in honor of The 15th Anniversary of Chamber Music Palisades

Published by Kenter Canyon Music (ASCAP)

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The fabulous Susan Greenberg and Delores Stevens, co-founders and music directors of the wonderful chamber music series, Chamber Music Palisades, asked me to compose a short work in celebration of the 15th Anniversary of their Series. Of course, I was delighted and said yes! Since the piccolo does not seem to have the number of works specifically written for this tiny instrument, I decided to give it a go and had lots of fun writing for the Little Instrument with the BIG Voice! Wanting something playful, I thought of the sound of the Nickelodeon at the Carousel in Central Park and on the Santa Monica Pier and chose this sound from the piano to accompany the piccolo. The piece gets off to a slow start but quickly picks up speed and each instrument tries to outdo the other until the surprise ending! Lots of Fun to play!

Poetry (2011)
for Baritone saxophone and harp (or Piano)
Also Available for Bassoon and Piano
through TrevCo
Duration: ca. 8:45
Commisioned by and for Wayne Leechford
Published by Kenter Canyon Music (ASCAP)
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The combination of baritone saxophone and harp started as a challenging endeavor when first thinking about writing for this instrumentation. Commissioned by Wayne Leechford, "Poetry" for Baritone Saxophone and Harp began as I was reading the poems of Edgar Allan Poe, specifically the marvelous poem, “Annabel Lee”. The cadence of the words seemed to work well as a musical line, and the baritone sound of the saxophone spoke to the darkness and depth of love and despair of the poetry. Combining the textures of the saxophone and harp was a challenge that delighted me as I pondered these two distinct textural sounds that may not have been combined before in duet form. The work begins with the harp evocative of the love and the sea so eloquently described in Poe’s writing. The saxophone is the lover despairing of losing his love, the beautiful Annabel Lee.

Reflections (1994)
soprano saxophone and piano
Duration: approx 3:10
Published by Kenter Canyon Music
(ASCAP)
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Reviews: Concert Master Series performance on April 29, 2001, presented by the Arrowhead Arts Association.
Reviewer: Glenn Tinturin
"
This Sunday's performance by classical saxophonist Douglas Masek and pianist Ayke Agus proved to be a truly inspiring event... The highlight for me was a piece written for Mr. Masek by Adrienne Albert called Reflections. This had a hauntingly beautiful melody which Masek played with a silken tone, while performing effortless leaps in melodic range."

"Clear jazz influence dominated Albert's lovely Reflections".
The Herald. Port Elizabeth, South Africa Oct 10,2007

"Reflections" has had numerous performances around the world. A beautiful melody with underlying harmonies that transcend boundaries of classical and pop music, this piece was originally composed for saxophone quartet. The wonderful saxophonist, Doug Masek, asked me to transcribe it for soprano saxophone and piano so that he could tour with the piece. Recorded on his CD, Distant Memories, this piece is a welcome addition to any clarinet or
Saxophone program. Due to the popularity of the work, I have been asked to transcribe "Reflections" for other instruments including cello and piano, violin and piano, oboe and piano, and clarinet and piano.
Please see below.

"Reflections" has been performed many times around the world. Recorded by Doug Masek on his CD, Distant Memories. This piece is a welcome addition to any clarinet or Saxophone program.

Reflections (1994)
clarinet and piano
Duration: approx 3:10
Published by Kenter Canyon Music
(ASCAP)
Listen - View Score
Please see comments from Reflections above.
Performed by Jim Williams, clarinet, and Linette Lind, piano
in Holly Springs, N.C. 2009

Reflections (1998)
Transcribed for ob and pn
Duration: approx 3:10
Published by Kenter Canyon Music
(ASCAP)
Listen - View Score
Please see comments from Reflections above.

Reflections (2002)
Transcribed for violin and piano
Duration: approx 3:10
Published by Kenter Canyon Music
(ASCAP)
Listen - View Score
Please see comments from Reflections above.
Performed by Grant Ho, violinist and Julia Greer, pianist in several chamber
concerts.

Reflections (2002)
Transcribed for cello and piano
Duration: approx 3:10
Published by Kenter Canyon Music
(ASCAP)
Listen - View Score
Please see comments from Reflections above.

Sam's Dance (1995)
for soprano saxophone and piano
Duration: approx 4:00
Published by Kenter Canyon Music
(ASCAP)
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Sam's Dance was originally conceived as I awaited my father who was undergoing foot surgery. He had the lithe physique of an athlete whose only sport was Walking. Sam religiously walked five miles everyday of his life. While sitting in the hospital waiting for his results, images of my father walking with a cane paraded as a three-legged waltz. The bravado of the opening and closing sections are bookends surrounding the melancholy melodies that characterized the character of a man constantly searching for lost dreams, hopes and loves..

Sam's Dance for Woodwind Quintet
For flute, clarinet, oboe, bassoon and French horn
Duration: approx 6:00

Published by Kenter Canyon Music (ASCAP)

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A delightful and charming work for WWQ that has had numerous performances including several by the Calico Winds. Originally written for soprano saxophone and piano, ths WWQ version engages audiences and performers alike. Good for programming for children as well as adult audiences.

Sam's Dance (1995)
transcribed for clarinet and piano
Duration: approx 4:00
Published by Kenter Canyon Music
(ASCAP)

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Sam's Dance (1995)
transcribed for flute and piano
Duration: approx 4:00
Published by Kenter Canyon Music
(ASCAP)

Listen - View Score


Sam's Dance (1995)
transcribed for oboe and piano
Duration: approx 4:00
Published by Kenter Canyon Music
(ASCAP)

Listen - View Score


Sunswept (2006)
for C flute and piano
Duration: approx 6:00

Published by Kenter Canyon Music (ASCAP)

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Originally written for horn and piano as the last movement of my Global Warming Sonata and then transcribed for clarinet and piano, Sunswept originated with a call from my friend and fellow Mu Phi member, Susan Dietz, asking if Windswept could be played with flute so that she and her husband, John, could play it together. In reworking the piece, I realized the sonorities of the flute and piano would work beautifully with this piece. Sunswept is an exciting, playful, lyrical and dynamic interchange between the instruments. The piano is an equal partner to the flute in this work. Click on the following link to listen to the superb flutist, Aleksandr Haskins and pianist, Mary Au perform "Sunswept".

Swing Shift (2013)
for Bassoon and piano (Optional Drum Set)
Duration: approx 8:30

Published by Kenter Canyon Music (ASCAP)
Also available through TrevCo.
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Swing Shift came about through a conversation with bassoonist, Christin Schillinger, who had been listening to songs from the 50s and 60s sung by the marvelous singers of the era, Ella Fitzgerald, Sarah Vaughn among others. We agreed that a new work for her (which she will premiere at the 2013 IDRS in Redlands) should have the feel of that era. Once I came upon the title, Swing Shift, the piece almost wrote itself. It can be performed with or without a drummer!

Three for Two (2010)
Three movements for alto flute and contrabass flute; for bass flute (or C flute) and contrabass flute
Duration: approx 11:00
Published by Kenter Canyon Music (ASCAP)

1. Dark and Light
Listen / View Score
 
Purchase all 3 movements
2. Lament for Sara
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3. Sassy
Listen / View Score
   

Commissioned by noted low flutes expert, Peter Sheridan, Three for Two was composed expressly for Peter and his cohorts in flute crimes:-) these three duos for the low flute family were premiered at the San Diego Flute Festival in April, 2010 and will be performed at the NFA Convention in August. "Three for Two" will be recorded soon by Peter and will be featured on one of his upcoming Low Flutes albums. Stay tuned! These works will be available shortly.

Two to Tango (2012)
for violin and cello
Duration: ca. 4:30

Published by Kenter Canyon Music (ASCAP)


An upbeat, charming tango for violin and cello. Premiered at MiMoDa with cellist Maksim Velichkin and violinist Radu Pieptea. In August of 2013, "Two to Tango" is being performed in the beautiful setting of La Senora Research Institute in the Santa Monica Mountans by violinist Alan Busteed and cellist, Ruslan Biryukov in a program titled "Tango for a Summer Eve" with the music of Piazzolla among others. A piece for students as well as professionals. Sound files and score samples will be put up soon!


UnCivil Wars (2012)
for flute/piccolo, horn in f, and piano
Duration: ca. 7:40
Published by Kenter Canyon Music (ASCAP)
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"UnCivil Wars" is the first movement of a three movement work-in-progress titled "War Stories" commissioned by the wonderful Zinkali Trio. They premiered this movement at the International Horn Symposium 44 at the University of Texas, Denton, TX in May of 2012. In this first movement, the horn portrays the heroic soldier committed to protecting the lives and honor of the innocent civilians (the flute and piccolo). The opening is the horn playing the traditional Taps, a Civil War song, in the original major key. The piccolo joins in to promote the peace, and then the piano, Suddenly the mood dramatically shifts . The music darkens, the piano depicting the army supporting, defending and protecting the innocent civilians, battling the imaginary forces. Throughout the movement, there is the Taps motif struggling to maintain the peace only to lose with untold loss of life and limb.
A tragic end in the name of Civility.

Wind Song (v. 2012)
for French horn and piano
Duration: ca. 9:00
Published by Kenter Canyon Music (ASCAP)

This version of "Wind Tides", commissioned by trombonist Andrew Malloy, was performed by hornist/composer Lydia Busler-Blais and pianist Mary Au in New York in March of 2012. The piece works beautifully for both of these wonderful brass instruments. For more information about this piece, please see the notes below pertaining to "Wind Tides"

Wind Tides (2008)
for trombone and piano
Duration: ca. 9:00
Published by Kenter Canyon Music (ASCAP)
Listen - View Score

American Record Guide - Jan/Feb 2013 Issue
"Wind Tides" is a beautiful, nine-minute study in a mostly melancholy mood that ranges from wistful to restless to agitated." Kilpatrick


When Andrew Malloy commissioned me to compose a work for trombone, I was both thrilled and terrified to write a work for this marvelous musician and remarkable instrument as, although I have written for the big instrument in my orchestral works, it seemed even more daunting to write for an instrument that is not necessarily thought of as a "solo" instrument (at least to other than brass players!). So, with Andy’s help (and it is always wonderful when a composer has the luxury of collaborating with a great player), I learned about the different sonorities, positions, and challenges of this instrument.    "Wind Tides" for trombone and piano is like a mini-concerto in a single movement with a fairly lengthy cadenza and is basically in ABA form.  The title comes from the obvious reference to the breath required for this instrument and from the ebb and flow of the music.
"Wind Tides" is the opening track on Andy's double CD, PAPER CLIPS, released on Navona Records.

Windswept (2002)
Transcribed for clarinet, piano
Duration: approx 6:00
Published by Kenter Canyon Music (ASCAP)
Listen - Vew Score

Originally conceived as the final movement to Climate Control, Windswept has been reworked for clarinet and piano and stands on it's own as a playful and lyrical interchange between the instruments. The piano has a cascading motif of triplets throughout which represents the wind sweeping across the plains and over the sea.


Windswept (2002)
Version for Cello and Piano
with lyrical cello cadenza
Duration: 6'
Published by Kenter Canyon Music (ASCAP)

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After transcribing "Windswept" for clarinet and piano, I realized that it would make a wonderful cello and piano piece. The agility, tonal colors and range of the cello make it the perfect partner to the piano. Windswept is a playful and lyrical interchange between the instruments. The piano has a cascading motif of triplets throughout that represents the wind sweeping across the plains and over the seas. Windswept is published by Kenter Canyon Music (ASCAP).

Winter's Breath (v. 2008)cbfingers.jpg
ContraBass Flute and piano
Also Bass Flute and piano
Duration: approx 4:00
Published by Kenter Canyon Music (ASCAP)

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An adaptation of Winter Solace, Winter's Breath is a brooding, lyrical homage to the darker places in each of us. The breathy, sensual voice of the contrabass flute seemed a perfect fit for the moodiness of the melody and interweaving of the harmonies which never go where you think they will. Filled with clashing accidentals, Winter's Breath exudes mysterious tonal colors which are perfectly suited for this unique instrument. Thanks to the wonderful low flutes specialist, Peter Sheridan , Winter's Breath is being introduced into the mainstream of the flute repetoire.

Winter Solace (2002)
Alto Saxophone, piano
Duration: approx 4:00
Published by Kenter Canyon Music (ASCAP)

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Written for my dear friend, Doug Masek who recorded it for his 2007 CD, Saxophone Alternative on Centaur, Winter Solace is a brooding, lyrical homage to the darker places in each of us. The breathy, sensual voice of the alto saxophone seemed a perfect fit for the moodiness of the melody and interweaving of the harmonies which never go where you think they will. Filled with clashing accidentals, Winter Solace exudes mysterious tonal colors which are perfectly suited for the alto sax, an instrument that is underused and generally misunderstood in the "classical" world.

 
 
 
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