I was recently accorded, this past November, the extraordinary privilege of having my recent composition, Confabulation for Orchestra premiered in Arlington by the Northern Virginia (NOVA) Community College Symphony in their fall concert. I was also honored to be programmed together with Beethoven’s 6th Symphony, which helped fill the hall to the rafters with audience. For any amateur — or even semi-professional — composer, this is quite a triumph, and I am still glowing from the very warm audience reception. (Could I qualify as a professional composer? Maybe not. I do have ten or so works in print by respected publishers, and every year or three I receive a royalty check, but it is rarely enough to buy even a cheap case of wine.)
My principal field of study as an undergraduate student at Oberlin College Conservatory in Ohio was in composition. This was perhaps not the wisest career choice, but during that time of my life, I chose to pursue only my own interests, without regard to any future marketability or employability. Fortunately, that issue worked out in the end.
I enjoyed studying composition, primarily with my teachers Walter Aschaffenburg and Richard Hoffmann. Mr. Hoffmann was a historically significant person. He worked as secretary and personal assistant to his own teacher, the famous and controversial composer Arnold Schoenberg, in the 1940s and 50s. I like to brag that I could be considered a direct musical descendant of Schoenberg. My compositions run the gamut from orchestra and band, art songs, chamber music, lots of choral music, and some piano music.
The study of orchestral composition possibly requires the broadest set of skills of any musical endeavor. Understanding the basic techniques of every instrument is critical, otherwise, one may create a great idea that unfortunately turns out to be unplayable. I had hands-on instructions in every orchestral instrument. I even took lessons for a while in pedal harp because it is notoriously idiosyncratic in terms of its capabilities. Expertise in the complex language of proper music notation must be acquired, including different notational conventions that are specific to different instruments. The endless possibilities of orchestration must be studied in the scores of the masters. Beyond that, the composer must find their voice with respect to more elusive concepts such as cohesive structure, thematic development, a personal harmonic language, pacing of musical climaxes and low points, contrapuntal writing, how to build a coda, among others.
Confabulation for Orchestra is a substantial work, lasting over 10 minutes. It is developed from a previous incarnation, Confabulation for Band. The original version was composed for a commission I received some years after I graduated from college. My high school band director was seeking a celebratory piece for the students to commemorate the 10th anniversary of the school’s opening. This was subsequently performed over the years by the National Concert Band of America, the City of Fairfax Band, and DC Different Drummers Symphonic Band. After I took the position of principal bassoon with the NOVA-CC Symphony, I noticed its mission statement declares the goal of performing under-represented composers, and I thought, hey, that could be me! So, I set upon the task of re-arranging Confabulation (for Band) for symphony orchestra. Upon completion, I approached our conductor Christopher Johnston with the score, and the proposal that he consider programming it. He readily agreed, but it took a year or two to find a fitting place among forthcoming planned programs. Rehearsals began in March 2025, in anticipation of the fall concert which took place on November 9th, 2025.
Confabulation for Orchestra opens with an introduction of brash brass fanfares interspersed with sparkling high descant figures in the upper strings and woodwinds. The main theme steps in with a high-stepping solo trumpet melody featuring frequent meter changes, after which the rest of the orchestra fills in to develop the theme. A second tranquillo theme is introduced by a melancholy alto sax, and it closes with a foreboding slow upward scale figure, which rises to the top of the symphonic range in pitch and volume. The main theme claps back in suddenly and is worked through a meticulously detailed development section. A brief waltzing segment is abruptly interrupted by stentorian outbursts by timpani, then trumpets and low brass, and then blaring French horns, grinding to a halt. After a pause, a lively new theme ensues quietly but evolves quickly into a complex jazz fugue with contemporary accents. A transition brings the two original themes back, in variation, and that leads to a rousing coda featuring an extended restatement of the opening fanfare, and striking timpani solos.
The unforgettable experience of having one’s creation come to life, and become real music for others, as opposed to crashing around endlessly in my own head, was most satisfying. It has, as a beneficial side effect, given my creative impulse a “shot in the arm,” after a bit of a quiescent period. As such, since the concert, I have composed two new small pieces, and I am currently working on a third.