Crapsody For Orchestra
pick-up chamber orchestra (1970)
pick-up chamber orchestra (1970)
The
four short movements – Introduzione con Reservazion, Caccia
Red-Handed, Minuetiquette con Edison (metrically marked Allegretto-garbo) and Finale senza Reservazion
– are comprised of quotes from other pieces (here’s the
list)
in the style of P.D.Q. Bach. In fact, I gave Professor Peter
Schickele, P.D.Q.’s biographer, the score to the Crapsody when he
visited my college campus a few months after the initial concert. The
fourth movement is especially brief because I was still
copying instrumental parts two hours before curtain when, alas, Time Ran Out.
Introduzione 
Caccia
Minuetiquette
Finale
Caccia
Minuetiquette
Finale
Sonaga (sic) for 2nd French Horn, Piano & Page Turner
French horn, piano, page turner, string bass, trumpet, clarinet, another French horn, tuba (1970)
French horn, piano, page turner, string bass, trumpet, clarinet, another French horn, tuba (1970)
A
few quotes from other pieces here, but the emphasis is on the many
sight gags. (Here’s a list.) I gave Prof. Schickele the Sonaga
score, too, and told him to use anything in it he wanted. (I was young
and foolish. I’m older now, but still plenty foolish.) And he did: several of the theatrical elements can be
heard on P.D.Q. Bach’s “Concerto for Two Pianos vs.
Orchestra.”
Movement 1 Movement 2
Movement 3
Grande Oeuvreture to Snoratorio
“It is Better to Marry than to Burn”
or
Better Wed Than Dead
pick-up chamber orchestra (1970)
“It is Better to Marry than to Burn”
or
Better Wed Than Dead
pick-up chamber orchestra (1970)
This, too, contains quotes from other music. And here’s its
list. Initially, I had visions of writing a whole Snoratorio, but
once I figured out how much work would be involved, I summarily
ditched the idea.
A Suite of Piano Pieces for Unruly Children
piano, playback, butterfly net, tear gas (diluted!), cream pie, plus a handful of other props (1970)
piano, playback, butterfly net, tear gas (diluted!), cream pie, plus a handful of other props (1970)
The
visual aspect of the last three of these five short pieces –
entitled Irving
the Clown, The Broken Ferris Wheel, On the Banks of the Hudson, The
Butterfly, and To Be Announced – is particularly crucial to
their “appeal.” My goal of III, for example, was to
give Midwesterners a taste of New York City, ergo the
tape recording of sirens, traffic and other urban sounds. Further
details are revealed in the score.
Piece I
Piece II
Piece III
Piece IV
Piece V
Piece II
Piece III
Piece IV
Piece V