Program notes

The music from ballets is some of my favorite—Tchaikovsky’s and Prokofiev’s in particular. The fecundity of invention and the downright symphonic way themes and motifs are developed over two hours keeps me coming back. The most effective music paints a dramatic arc without relying on dancers or a libretto, and that’s what I try to do here—write music unencumbered by actual connection to an explicit story, or a ballet for that matter... though the music is spirited and danceable.

This music is written as a suite to keep it short and leave the details of the non-existent story up to the listener’s imagination. The reed family of instruments is a particularly characterful one—in my opinion the best at personifying distinct characters—from noble to diabolical, from pensive to exuberant. With the canvas of the reed quintet, all of the classic narrative ingredients are there—hero, villain, sidekick, and a climax where it all comes together.

I. Villain
II. Hero
III. Sidekick
IV. Conflict
V. Apotheosis