A variation on an original Christmas Carol, it employs modal harmonies and polyphonic, imitative textures in the piano part. The violin part is written across a broad range. Its predominantly lyric character is enlivened by short bursts of rapid ornamentation.

A large concert work, about 10 minutes long, in four sections played continuously. The maestoso opening section is followed by an allegretto of somewhat impressionistic character and a very chromatic lento doloroso. The final Allegro is harmonically more straightforward but of virtuoso character. The whole work is unified through use of thematic and motivic transformations.

The Gaelic Sonata is a big neo-romantic virtuoso concert work in three standard movements - sonata-allegro, song form, and rondo - with thematic material derived from Scottish folk songs: MacrimmonÂ's Lament, OÂ'er the hills and far away, Gun Chrodh gun Aighean, Suaicheantas na H-Alba, Skye Boat Song, Fliuch an oidhche, My love, sheÂ's but a lassie yet, The Perth Hunt, The wind that shakes the barley, Timour the Tartar. The harmonic language is tonal with liberal use of chromatic dissonance, pandiatonicism, quartal harmonies, impressionistic gestures and much variety of instrumental texture. Frankly emotional, the music communicates a wide range of feeling from the heroic to the profoundly sorrowful. The last movement - a series of reels - is especially joyous with its rollicking dance rhythms and offbeat harmonization. About 22 minutes long.

From the composer's notes: 'This elegy - based on motivs from America the Beautiful - is an expression of both profound grief and great strength. A tonal work that begins quietly, it achieves power through use of Ivesian dissonance and motivic development. Its heroically triumphant climax is followed by a quiet reprise of opening materials. Approximately 8 minutes long.

A lyric, tonal work for younger students containing movements of contrasting character, textures, and rhythmic patterns. The final toccata on the white keys is one of those rewarding pieces that sounds much harder than it is to play.

This sweeping 8' score traverses much emotional territory, by turns intensely lyric, warmly intimate, darkly tragic and boldly heroic. Ends with profound calm in major mode. An ABA form with extended coda, it is extremely well balanced with regards to sonorous textural effects and practical keyboard logistics. Extended tonal idiom pays tribute to Chopin and Faure but convincingly explores newer harmonic vocabularies.

Offshore ... Sand Key, Florida, with its gently repetitive phrases and slow harmonic movement, evokes the swing of the sea. An early advanced piece all on the white keys of piano, it achieves variety through thematic/textural transformations and register changes. Harmonically very accessible, with sonorous triadic and seventh chord harmonies. Approx.. 6 minutes.

A short (2') duo for viola and piano written in the strictest 12 tone idiom, this mock-serious piece is dedicated to all 'self-important theory teachers.' The instruments combine various striking motivic and rhythmic gestures into extended lyrical phrases, but alas, they adhere so stubbornly to the original set and one of its transpositions that a certain inevitable (and humorously tedious) ennui develops as the piece progresses. The composer uses Schoenberg's idiom with a 'charitable intent' similar to that which Debussy demonstrated in quoting Wagner.

Herein the tritone scampers around with great hilarity! Urbane, witty and sparkling, this 5' concert work in sonata form uses common-practice tonal expectations to pull off a number of Haydnesque musical jokes including 'wrong notes' in melodies, 'incorrect' voice leading in chords, 'sideways slides' (parallel octaves/fifths) to get into the 'right' keys, motivic augmentations, inversions, themes showing up in the wrong key and getting 'shouted down', etc. Technically polished in its adroit handling of arpeggios, leaps and runs, this virtuoso work showcases a variety of emotionally contrasting themes-by turns aristocratic, lyric, heroic, curmudgeonly, or earthy-all econamically derived from a few motivs.

This is an extended concert work in six movements inspired by the serenades of Mozart. Strongly tonal and neo-romantic in character, the entire work is developed from a handful of motivs introduced in the opening Andante Tranquillo along with two extended themes introduced and developed in later movements. About 24 minutes in duration.

Well received by audiences and of immediately accessibility, this sonata derives its thematic materials from folk songs found in Carl Sandburg's anthology "The American Songbag", first published in 1927. The composer has treated the materials with both respect and inventiveness, the end result being a large (22Â') three movement work in traditional forms celebrating the American spirit. This essentially tonal sonata includes many interesting devices (quartal harmonies, whole tone scales, bitonality, etc.) along the way. Certain liberties have been taken with the melodies, mostly of a metric nature. Mvt. I, Rogues and Workers is a sonata-allegro structure formed around four tunes that very cleverly derives all motivic materials, both melodic and accompanimental, from the contours of the songs.The ternary slow movement, Love and other Sorrows, is a chronicle of leave-taking and longing, extremely poignant and expressive. The sparklingly comic finale, Dancin and Foolin, is a witty rondo replete with Haydnesque musical jokes (hemiolas, wrong notes chords, modulations to unexpected keys) and thematic quotations from previous movements as well as from Mozart! Technical requirements are rather advanced throughout the sonata with musical/technical elements distributed equally between the two players. All told, this work serves up a generous and fun slice of Americana.

From the composer's notes: 'This concert transcription was written for the Boliver-Peck piano duo and premiered on Oct.21, 2001. A stirring, grand transcription, it is very sonorous, containing challenging yet idiomatic figuration in both parts. It calls for big chord playing, strong scale and arpeggio work, and double note arpeggios. It is also suitable for advanced high school students.' Includes 2 copies.

Three short but demanding pieces very individual in nature. The first uses rapid scales and staccato double note chords, the second has a sweeping chordal accompaniment and bell effects under a solemn modal melody, and the third is a ragtime with a modern harmonic twist.

A formal rondo in desigh, it is technically demanding and reminiscent of Stravinsky and Ravel in its harmonic language. It has a sweeping middle section and a humorous ending. Written to effectively exploit various idiomatic keyboard devices.