flute, clarinet, guitar, percussion, violin, and cello
15 minutes
2007

The opportunity to compose the music for a dear friend’s wedding provided the opportunity here to explore some new approaches. The bride—a friend since middle school—was and is beautiful, brilliant, and just plain impressive. In such a circumstance, I found myself considering a question, musically, that I was not at all used to: what would be “appropriate”? Almost as if for the first time, I had to contend with the fact that people were going to have to listen to this music (somehow a relatively unexplored contingent with my other compositions). As is so often the case, salvation came by way of percussion. Specifically, in the processional, an assortment of ghungroos and jingles providing a lovely resonant din from which emerges the “music”; and, in the recessional—which includes an extended quotation from Janáček’s Jenůfa—the tambourine and triangle accompanying what might even be called a “romp.”

Processional

Recessional