Twice Handeled (2018)
Five movements from the Handel Harpsichord suites arranged for wind ensemble based on the Glenn Gould recordings - 17'
By G. F. Handel
Arranged by David Kirkland Garner
This arrangement began with an infatuation with Glenn Gould’s recording of the Handel harpsichord suites. While listening to the D-minor prelude one evening at maximum volume, I suddenly envisioned the music being performed by a cascading and intricate web of winds. To me, this grand, exciting, and emotional music seemed to demand larger forces. Twice Handeled presents an arrangement of five movements extracted from the A-major and D-minor Handel harpsichord suites modeled after Gould’s fascinating and sometimes eccentric interpretation of the pieces. I carefully transcribed Gould’s ornamentation and tempi for wind ensemble (though I should note the tempos are generally not as fast as Gould, but the proportions remain intact). This music was composed by Handel, interpreted by Gould, and finally handled once again by myself, where I attempted to insert my own voice through curious and ever-shifting colorful orchestration and instrumentation choices in order to highlight Gould’s character choices in this musical conversation about harmony, color, memory, and mediation.
for flute, violin, viola and cello - 6.5'
Nonallemande is one of many Bach-inspired pieces I have written in the past couple of years. This work takes the first section of the Allemande from the Bach Flute Partita and presents a Post-minimalist rumination on the flute partita gestures. I love Bach's solo instrument partitas for how they weave multiple lines of counterpoint into a single voice. This work unstitches this fabric into four parts.
Nonallemande was commissioned by Electric Earth Concerts. The recording below is from the NC premiere of the work at the Duke Gardens and is performed by Laura Gilbert, Jonathan Bagg, Gabriela Diaz, and Caroline Stinson.
Resewn Études (2015)
for flute, bass clarinet, trumpet/horn, violin, viola, and cello - 13'
The material for each movement is derived from the Presto of Bach’s Violin Sonata No. 1 in G minor, BWV 1001. I love Bach’s works for solo instrument for how they condense multiple lines of counterpoint into a single voice. For this piece I wanted to sort of “un-sew” this fabric back into six voices. Short sequences from the Presto are used as the building blocks to create a diverse collection of succinct studies. I. Accumulating is riffing off the first five measures of the Presto, which clearly presents the tonic and dominant triads. II. Skipping along bounces between counterpoint and klangfarbenmelodie. III. Writhing is about texture. IV. Playful; perpetual slowly unfolds a Bach sequence through a dialogue between violin and trumpet. Finally V. Unhurried; resonant ruminates and cycles through an ever-modulating Bach sequence in a blur of polyrhythm. Resewn Etudes was Premiered by the yMusic ensemble at MotorCo Music Hall in Durham, NC on March 3, 2015.