Compositions |
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All pieces are Copyright © Glen Peterson. All Rights Reserved. Unauthorized duplication is prohibited by international copyright law.
Performed by the composer on an instrument (glass organ) he designed and built himself. Recorded by Matt Samolis at his apartment, Boston, MA on 11 February 2006.
Prelude #1 is an improvisation in an A-B-A form. Mostly, it plays with the sounds of the organ and some basic techniques.
Postlude #1 is a study on the inherent harmonic structures of the instrument, demonstrated through a progression of arpeggios. Two forays into a haunting melody give this piece a Rondo - like form
Sonata #2 for Piano is in the free atonal style. The first movement has elements of a both a sonata form and a rondo form. The two themes, a slow chordal one and a fast angular one, repeat in variations through the movement like a rondo. The themes use the same notes, but the second (fast) theme is transposed up a fifth. In the recapitulation, the second theme is played un-transposed, rounding out the sonata form aspect of the piece.
The second (slower) movement is a binary form using a scalar theme and very short simple tune. The third movement is a toccata-fantasy based on an arpeggio. This is a very difficult piece to play and I am delighted that Jun was willing to take on the challenge.
Performed by Jun Toguchi. Recorded at Blink Music, Inc., Cambridge, MA on 8 December 2005
This piece is a mostly tonal work based on the song of the Wood Thrush. The song is played by each member of the quartet with different accompaniments. This piece was composed in the summer of 2005. This "performance" is an electronic realization using Finale 2005.
This piece is a burlesque by a theme by George Wyle and Sherwood Schwartz, with shy support from a traditional English folk tune that (legend has it) was composed by King Henry VIII (1491 - 1547) for his lover and future Queen, Anne Boleyn. The main melody is revealed slowly, first through a counter melody, then retrograde, inversion, augmentation, diminution, fragmentation, and finally hidden within a fugal texture before a full statement is revealed. The piece then builds to a surprise conclusion. It was composed in the fall of 2005. This is another Finale realization, but due to limitations of Finale 2005, many parts are inaudible.
I owe a special thanks to Henry Lebidinsky for suggesting the second theme of this piece instantly when I told him what the first theme was going to be.