Acadian Dreams – flute and piano (2016)
flute and piano
"Acadian Dreams" was commissioned by flutist, Rebecca Jeffreys, in honor of her father whose lineage is from Acadia. This one movement work is programatic and tells, through music, the history of the Acadian people immigrating from France to Nova Scotia in the 1600s. Longfellow composed his epic poem, "Evangeline", based on the the Acadian people, and it ends in the contemporary influence of Zydeco music in New Orleans. "Acadian Dreams" is published and can be purchased through Kenter Canyon Music (ASCAP). It is Published by Theodore Presser:
https://www.presser.com/adrienne-albert
CT. Tango Nuevo (2007) for alto flute and guitar
duet for alto flute and guitar
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.
Circadia (2002) for bassoon and piano
for bassoon and piano
Three movements for Bassoon and Piano. Commissioned by Carolyn Beck. The three movements are titled:
1. Cycles - 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 - 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 - Lori Alexander, composer writes: "Your piece was rich with ideas... very full harmonically, and melodically:... A very, very substantial, moving and impressive work. Congratulations!"
Elegy (v. 2020)
for violin and cello
"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 wonderful violinist, Anna Cromwell, and cellist, Mira Frisch have recorded this work on their CD, Dancing on Glass, released by Albany in 2020.
Fantasia (2002) for clarinet and piano
clarinet and piano
"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. In 2014, the wonderful flutist, Rik Noyce, asked me to compose a version for C Flute. Rik gave the Canadian premiere in June of 2015 and has performed it numerous times in the U.S.
Fantasia (v. 2012)
version for bass clarinet and piano
"Fantasia" (2014) was originally composed for the superb saxophonist (and clarinetist), Doug Masek. .When the marvelous flutist, Rik Noyce, heard the piece he declared that he wanted to perform it on flute. With its mood shifts, rhythmic changes, and harmonic and melodic surprises, it is a challenging and fun piece for both the flutist and the pianist. Too often, the piano is left as a step-child to the solo instrument. This work explores the colors of both instruments, 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. In 2014, the wonderful flutist, Rik Noyce, asked me to compose a version for C Flute. Rik gave the Canadian premiere in June of 2015 and has performed it numerous times in the U.S.
Fantasia (v. 2014) for Alto sax and piano
version for alto saxophone and piano
"Fantasia" (2014) was originally composed for the superb saxophonist (and clarinetist), Doug Masek. With its mood shifts, rhythmic changes, and harmonic and melodic surprises, it is a challenging and fun piece for both the saxophonist and the pianist. Too often, the piano is left as a step-child to the solo instrument. This work explores the colors of both instruments, has jazz and Latin influences and challenges the players to listen to one another. In the spring of 2013, the wonderful alto saxophonist, Chika Inoue, performed the new version for alto sax with Mary Au, pianist.
Fantasia (v. 2014) for flute and piano
version for flute and piano
"Fantasia" (2014) was originally composed for the superb saxophonist (and clarinetist), Doug Masek. .When the marvelous flutist, Rik Noyce, heard the piece he declared that he wanted to perform it on flute. With its mood shifts, rhythmic changes, and harmonic and melodic surprises, it is a challenging and fun piece for both the flutist and the pianist. Too often, the piano is left as a step-child to the solo instrument. This work explores the colors of both instruments, 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. In 2014, the wonderful flutist, Rik Noyce, asked me to compose a version for C Flute. Rik gave the Canadian premiere in June of 2015 and has performed it numerous times in the U.S.
Global Warming (rev 2007)
4 movements for horn and piano
The four movements are titled:
1. Temperature Rising
2. Ice Melting
3. Spring Fever
4. Windmills
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.
Lament for Sara (2010)
version for English horn and bassoon
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.
Lament for Sara (2010) alto flute, bass clarinet
for alto flute and bass clarinet
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.
Nightfall for bassoon and piano
bassoon, piano
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. Also available for cello and piano; alto saxophone and piano; horn and piano; trombone and harp
Piccolodeon (2012)
piccolo piano
Published byTheodore Presser https://www.presser.com/adrienne-albert
Poetry (2011)
baritone saxophone and harp
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.
Poetry for Baritone Sax and Harp
Baritone saxophone, harp
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 for clarinet and piano
clarinet and piano
"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. This performance by Jim Williams, clarinet, and Linette Lind, piano in Holly Springs, N.C. 2009
Reflections (1994) for soprano saxophone and piano
soprano saxophone and piano
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."
Remembrances (2019)
flute and piano (or harp)
Commissioned by the Los Angeles Chapter of Mu Phi Epsion in honor of their 100th anniversary, "Remembrances" was premiered by Susan Greenberg, flute, and Delores Stevens, piano at Mu Phi's 100th anniversary celebration. The piece is reflections of memories gone by.
The Day Before (2019)
alto flute and piano
Commissioned by Wendy Stern and premiered by her in 2019; "The Day Before" for Alto flute and Piano (version available for c flute and piano) brings back memories of yesterdays. Starting with reflections of Beethoven, the work is melodic and thoughtful, with flickers of memories past.
Winter's Breath (2008) for Contrabass Flute and Piano
contrabass flute and piano
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 repertoire and has been recorded by low flute expert, Ned McGowan.
