Music for Pianos
Music for Pianos
Elizabeth Austin; Catalogue of Works
ORCHESTRAL:
Wilderness Symphony (No. 1) for two reciters and orchestra, based on “Wilderness” by Carl Sandburg (permission from Harcourt, Brace, Jovanovitch), 1987. Duration: 19:00 ca. Recorded by the Krakau Radio/TV Orchestra, Szymon Kawalla conducting. Capstone CD (CPS-8634)
As we approach the end of a century infamous for its animalistic explosions of violence, the lurid chill of Sandburg’s menagerie is quite relevant. Six character variations evolve out of the introductory landscape, as each animal emerges from our psychological ‘zoo’. The Petroushka quotes suggest a similar life force, pent up yet threatening to burst out.
Symphony No. 2 (“Lighthouse”),
for orchestra, 1994.Duration: 15:00 ca.
This work represents an “Adieux!” at the turn of the millennium, through its structural use of musical quotes from European and American sources. A lighthouse as a metaphoric beacon provides the program for the first movement. The second movement is a Burlesque on a theme by Johann Stamitz (The composer honors Mannheim through this usage; she returns to Mannheim each spring.) An Elegia concludes the work, with the radiant lighthouse once more brought to mind in an incantation.
WIND ENSEMBLE AND CHORUS:
Cantata Beatitudines for SATB chorus, soli, wind
ensemble and organ, 1982. Duration: 18:00.
The inspiration of ancient Greek music, verse, and movement provided the background setting, and the idea of ‘blessedness’ as wholeness is pursued. In this work, the positive but realistic theology of the Beatitudes concludes with an “outburst of joy,” an homage to Messiaen.
CHAMBER WORKS
Solo:
A Child’s Garden of Music for solo piano, 2000. Duration: 5:00 ca.
Intended primarily for intermediate level pianists, these miniatures are musical portraits of young friends and relatives of the composer.
The conclusion of each piece gives the pianist something lively to do, while characterizing the portrait!
Gathering Threads for clarinet in B flat, 1990. Duration: 6:00. Publication by Peter Tonger Verlag (Germany), 2000. Capstone CD: CPS-8625
A collection of fragmentary threads replaces a traditional motive at first. By the end, these threads become transformed by a Strauss quote.
Ghosts for bassoon and tape, 1980. Duration: 7:00.
The bassoonist becomes increasingly drawn to the “Doppelänger” of the electronic ghost. The phantom player responds by imitating and a game comes about. The winner is heard at the work’s end!
Klavier Double for piano and tape, 1983. Duration: 11:07. Capstone CD: CPS-8625. Jerome Reed, pianist. First Prize: David Lipscomb Competition, 1983.
The “double” of klavier (piano) and Synklavier (synthesizer) explains the title of this piece. Thematic fragments of Schumann’s Fantasie in C, op. 17 become the basis for thematic and stylistic transformation.
Lighthouse I for harpsichord, 1989. Duration: 9:00 ca. Published by Peter Tonger Verlag. On Capstone CD: CPS-8625
Historical sonata-allegro form involves duality, usually concerning two themes of contrasting character in close proximity. The duality of ideas in this work concerns the use of tonal/non-tonal patterns as a kind of analog of this sonata principle.
Puzzle Preludes for piano ,1994. Duration: 9:00 ca. Commissioned by Craig R. Johnson.
Each of the five Preludes centers around a quote, intentionally bent. The listener must guess the source, taken from composers of the Baroque, Classical, and Romantic periods.
Sonata for Soprano Recorder, 1991. Duration: 14: 45 ca. On CD from the Staatliche Hochschule für Musik Heidelberg-Mannheim 1993, Stefanie Grundmann, recorder.
A caged bird, beating his wings in desperation, provides the program. A commentary on the futility of war, with the third and final movement, one of hope: “Keep a green bough in your heart and a singing bird shall come.”
Zodiac Suite for piano, 1980 (revised, 1993). Duration: 11:30 ca. On Capstone CD: CPS-8625
Five variations on a theme, including Aries, Sagittarius, Libra, Aquarius, and Taurus..
The piano works of Elizabeth Austin are included in a lexicon of piano music prepared by Peter Hollfelder, Professor of Piano at the Wurzberg Musikhochschule titled :-
Ensemble:
Capricornus Caribbicus for flute, oboe, and piano, 1998. Duration: 10:00. Commissioned by the Recording for the Blind & Dyslexic, Virginia Chapter.
The fast, upbeat Danza reflects the influences of African rhythms impacting on the English contradance. The middle movement, calm and expectant, was inspired by the beatitude, “Blessed are the pure in heart, for they shall see God.” Musical permutations to several popular songs enliven the final movement.
Circling for violoncello and piano, 1982. Duration: 9:00. Publication pending by Peter Tonger Verlag, 1996. On Capstone CD: CPS-8625
The geometric patterns involving circles at the beginning of each of the four movements mirror a relationship between two people; the performers map out these interpersonal moods.
To Begin for brass quintet, 1990. Duration:6:45 ca. On Capstone CD : CPS-8625
Inspired by a cummings phrase, “..the leaping greenly spirits of trees..”, the frolicsome first movement gives way to a musical ballgame in Movement II. A boisterous concluding Ländler sustains a light mood, while a theme from Beethoven’s Fidelio is cited: “Es sucht der Bruder seine Brüder.” (“Brother seeks brothers.”)
Sans Souci Souvenir for viola d’amore and harpsichord, 1996. Duration:8:00 ca. Commissioned by Fine Zimmermann.
With personal and professional ties to Potsdam, the composer was inspired as much by the resonance surrounding Sans Souci as by the lyric beauty of the viola d’amore. This two-movement work is a dualistic reflection on the earthly/heavenly continuum of light and shadow, sorrow and joy, as intermingled as the continuum of colors in a rainbow.
Sans Souci Suite for Baroque flute and percussion, 1996. Duration: 8:00 ca. Commissioned by Susan Lowenkron.
The Baroque flute was championed by Quantz, in the employ of Frederick the Great at Sans Souci (and Rheinsberg). Borrowing musical ‘affectations’ from his time, as well as musical quotes from his own compositions, this work also contains variations on a theme given to Bach by the King, when the venerable composer visited Sans Souci.
Showings for soprano, trombone, and organ, 2000. Based on texts by Julian of Norwich (1342-1412 ca). Duration: 13:00 ca. Commissioned by The
Julian of Norwich wrote Showings, based on sixteen visions of God, occurring as she was extremely ill. As an anchoress, a solitary who is often pictured with her sole companion, a cat, her books were the first to be written in English by a woman.
A Triadic Tribute for brass quintet and organ (2000). Duration: 11:00 ca.
A fanfare of triadic motives taken from hymns used throughout the church year. Towards the end of the one-movement work, the brass quintet spreads out through the audience, metaphorically sending their ‘light’ into the world.
Water Music I. Beside still waters... for eight celli, 1996. Duration: 8:00 ca. Commissioned by Mary Lou Rylands.
The ‘water’ of humanity, that of weeping, joins the lamentoso setting of this work. Envisaging the sweep of waves, an ebb and flow, and rippling movement, the compositional preoccupation with water -music in the flow of time , measured and unendless, is addressed.
Hommage for Hildegard for mezzo soprano, baritone, flute, clarinet, percussion, and piano, 1997. Duration: 19:00 ca.
Based on the antiphon Caritas abundat by Hildegard von Bingen. Won the Miriam Gideon First Prize, 1998, IAWM Composition Competition.
VOCAL WORKS
Choral:
An die Nachgeborenen (To Those Born Later) for SATB Chorus and piano, 1991. Duration: 19:00 ca. Poem by Bertolt Brecht (English translation by John Willett). German text used with permission of Suhrkamp Verlag. Available in German and English. On Capstone CD: CPS-8625
Christ Being Raised for SATB and organ(opt.), 1955. Duration: 3:00 ca. Published by Arsis Press.
Christmas, the Reason for SSAA and piano, 1981. Duration: 3:00 ca. Poem used with permission of Sister Maura Eichner, S.S.N.D.
Mass of Thanksgiving (“We Gather Together”) for SATB choir, organ , flute, trumpet, 1987. Available in English and Latin.
The Master’s Hands for SATB and organ(piano), 1994. Poem used with permission of Marilyn Nelson. Duration: 4:00 ca.
Solo Voice:
A Birthday Bouquet for high voice and piano, 1990, Duration: 12:00 ca. Poems by e.e. cummings, Christine Rossetti, William Butler Yeats. Capstone CD (CPS-8646).
Drei Rilke Lieder for middle voice and piano, 1958. Duration: 8:00 ca. Herbst, Herbsttag, Liebeslied. Publication pending by Peter Tonger Verlag.
Frauenliebe und –leben for mezzo-soprano and piano, 1999. Duration: 11:00 ca. Poems by Adelbert von Chamisso.
Litauische Lieder for baritone and piano, 1995. Duration: 11:00 ca. Poems by Johannes Bobrowski.
Sonnets From the Portuguese for soprano and piano, 1988. Poetry by Elizabeth Barrett Browning. Duration: 11:00 ca. On Capstone CD (CPS-8618), M. Liebermann, soprano; C. Witthöft, piano.
A complete list of works is available from the composer. Scores are available either from the publishers (Arsis Press, Peter Tonger Verlag) or from the American Composers Alliance. Recordings are available either from Capstone Records or from the composer:1
(Elizabeth R. Austin, BMI)
American Composers Alliance
President, Connecticut Composers, Inc.
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