Originally scored for orchestra, but conductors generally felt that it was too difficult rhythmically (perhaps if I had titled it "Le Sacre du Printemps"...). No matter - if I may say so myself, there's much more "sizzle and smoke" in this unabashedly synthetic version than would be possible in any orchestral performance. This is 'Music that darts...'. It's one of my favorites because I (like to) think that it comes close to my unattainable goal of true originality.

Subtitled "That first disappointment". Inspired by the ending of the film 'Against All Odds', which, by focusing solely on a young woman's face, vividly captures the range of emotions she feels as she watches her lover walk away, knowing that she will never see him again. This piece has had a restless history. It was initially intended as the introduction for the first movement of a piano concerto, but when I decided that (1) it was a complete piece in and of itself, and (2) I had no business writing a piano concerto, it became a piece for chamber orchestra. Unable to get a performance, I re-fashioned it for string quartet, and so got one performance. Then I did this version (which is my personal favorite) for "softly synthesized" full orchestra. Finally, I did a version for string orchestra, which is published by GMP Music.

Subtitled "At last! The real thing!". An emotional counterpoint to the first movement of this piece. Not really romantic in a soft, subtle, or "feminine" way, though - this is more about the ecstacy of it all.

Originally from my doctoral dissertation (a work for orchestra entitled "20 Minute Waltzes"), this piece was subtitled "In the manner of a (somewhat avant-garde) New Orleans-style jazz band". However, years later, I decided that the idea cried out for a fully zany, synthesized treatment. Thus, it now resides at Wild Whirled Music, where it is part of their cartoon / novelty / comedy CD. I've "defaced" the audio with dropouts to discourage unauthorized use.

This is another piece from my doctoral dissertation. Like "Dixieland From Outer Space", it's an experiment with the idea of skewing the pitch sensibility of a well-known idiom. And, once again, I ultimately decided that orchestra was not the right "home" for this - it wants to be comedically over-the-top. Published by Premier Tracks, so I've "defaced" the audio with dropouts to discourage unauthorized use.