2c. Second Movement: Sorrow: eight part crab canon for flute octet, commissioned by Donald Maher. See I/VIII/5. Unperformed.6. 5. of III/IV/2c. Flute Octet: "Sorrow" the middle movement of String Symphony II: 4 minutes. This eight part crab canon is the original version of this movement:: commissioned by Donald Maher. Unperformed.
4a. Duo IV: after e. e. cummings: 3 variations on Bb: 6 minutes & 20 seconds; 5 movements for violin & viola; unperformed.
3. Three Songs to Poems by James Joyce: set of 3; "Alone"
(1 minute & 40 seconds) is available; the other two are lost
or incomplete.. Unperformed.
Scaramouch et Pulcinella:
May have been performed at The Aichi University of The arts, Nagakute, Japan; with clarinetist, Romualdo Barone.
In preparation for performance, with clarinetist, Romualdo Barone, at The Aichi University of The Arts, Nagakute, Japan.
Book II. Concerto Ballets: (see III/IIc: orchestra)
1. - 4. The Lovers: 17 & a half minutes; 6 movements; based on the myth of Orpheus & Eurydice, with a happy ending. Inspired by "The Lovers" by Marc Chagall. See I/II/ 7-11 & III/II/1-5.
1a. Flute Concerto: with percussion, timpani and strings 9/1-2/23;
1b. Flute Concerto: with piano; in Spanish.
2a. Alto Flute Concerto: with percussion, timpani and strings;
2b. Alto Flute Concerto: with piano.
3a. Oboe Concerto: with percussion, timpani and strings;
3b. Oboe Concerto: with piano; in Spanish.
4a. Clarinet Concerto: with percussion, timpani and strings;
4b. Clarinet Concerto: with piano; written for Christian Contreras.
5a. Viola Concerto: with percussion, timpani and strings;
5b. Viola Concerto: with piano; the viola concerto is the original version. It is a whole step lower than the other 3 concerto ballets; written for my husband, Drew Hubbard.
Concerto Ballets: 1. - 5. The Lovers: 17 and a half minutes; 6 movements; based on the myth of Orpheus and Eurydice, with a happy ending. Inspired by "The Lovers" by Marc Chagall. See IV/I/6 and III/II/1 (Clarinet Concerto) and III/II/5 (Viola Concerto). See Volume IV: Book II and Volume I: Book II: 7-111.
2c. Second Movement: Sorrow: eight part crab canon for flute octet, commissioned by Donald Maher. See I/VIII/5. Unperformed.
1a. Flute Concerto: with percussion, timpani and strings;
1b. Flute Concerto: with piano; in Spanish; 9/1-2/23; see I/II/8.
2a. Alto Flute Concerto: with percussion, timpani and strings;
2b. Alto Flute Concerto: with piano; see I/II/9.
3a. Oboe Concerto: with percussion, timpani and strings;
3b. Oboe Concerto: with piano; in Spanish; see I/II/10.
5a. Viola Concerto: with percussion, timpani and strings;
5b. Viola Concerto: with piano. The viola concerto is the original version; It is a whole step lower than the other three concertos. see I/II/12. for my husband, Drew Hubbard.
7. - 11. III/IIc: Concerto Ballets: The Lovers: 17 and a half minutes; 6 movements; based on the myth of Orpheus and Eurydice, with a happy ending. Inspired by "The Lovers" by Marc Chagall. See Volume III & IV: Book IIb.
7. Flute Concerto: with piano; in Spanish; 9/1-2/23;
8. Alto Flute Concerto: with piano;
9. Oboe Concerto: with piano; in Spanish;
10. Clarinet Concerto: with piano; for Christian Contreras;
11. Viola Concerto: for my husband, Drew Hubbard. The viola concerto is the original version; It is a whole step lower than the other four concertos.
Joseph Gelineau (1920-2008), Selected Psalms (1953): selections transposed, edited and re-harmonized for performance by DEW at The Weston United Methodist Church, 2013-2014.
4. When the Heart is Full of Love: songs for soprano or mezzo-soprano & piano,
Set to anonymous poets extracted from "The Mask of The Witches" VI/II//6 & Vii/II/6. Uses the Major/Major 7th and minor/minor 7th jazz chords leaning toward the tritone in
simulation of European village melodies and harmonies.
4a When the Heart is Full of Love: 7 & a half minutes: 3 songs sung by The Sister.
4b. When the Heart is Full of Love: 13 & a half minutes: the three songs from 4a. preceeded by, & followed by the WIccan Hight Priestesses song: "Har, Har, Hou, Hou."
5. Red Riding Hoods: 6# pocket musical in 3 scenes; A bB 2N & piano; two lesbians go to "The Hall of Justice" to be married. On the way they confront a (MAGA Republican) werewolf.
9. School of The Night: 4#s a pocket musical; for Bb B; 2 actors & piano. Tells of the mysterious events surrounding the supposed death of Christopher Marlowe, & the assassination of Giordono Bruno, including a very difficult setting of his "Ode." The first and last number start "Edward II" and were recorded by the composer, Bb with The Acting Singers Project, VII/I/2. The other 2 numbers, not recorded.
Peter Pansy: 8#; an hou video paradyr; mrxxo-soprano/actress' 3 male, 1 female actress; 1 male mime, & piano; Wendy tries to pursuade Peter not to pursue The Crocodile; Tiger 'Lil saves her lipstick lesbian, Pinkerbell from Hook, who gats more than he barained for. Unperformed.
IV. Philosophic Plays with Music:
1. Canon Law: 9#s for acting singers: S S A T B & piano. Poems by Mother Goose. A Catholic Priest faces challenges: abortion, birth control; divorce, women priests, gay marriage, love.... Selections recorded by Drew Hubbard, Bb, with the composer, piano. Otherwise unperformed.
2. Gd., The Musical: a philosophic play with music in two parts: about the 7 theories about the nature of Gd. & the fact that everyone agrees. 90 minutes.
1. Egg: 10 #s; 60 minute play with music; 7 singers; opt. actress (Jo); dancers, & piano. A mysterious object is seen on the monitors of a star ship. An argument ensues amongst the crew. Then they fight against The Noetic Beings (the idea that no one, or worse, nothing, exists). Between parts, Hermes talks with Jo the bagger in the super-market.
2. Andrew's Dream: 9#s, 30 minutes; a ballet for dancers, vocal chorus, bass & piano. Andrew & Dave save the world from the Noetic beings, with the help of Mercury, Jesus, Gia, Sophia & The Pope. Unperformed..
3. New Hope Christian Fellowship Ministry Crusade & Home Shopping Network:
90 minute comedy: a play with music: 6#s (vocal themesong, commercials; & a solo, with piano, sythesizer or jazz band): 5 on-stage voices (one sings); maximum of 9 phone callers, and 2 additional off-stage voices. Two women (or men in drag) discuss a show featuring two "Christian" telemarketers. They listen to the show whcih is a disaster. The music is taken from VIII/I/2 & VIII/I/7.
6. Prayer for Ukraine: 11 and a half for string trio; 2022; 2 movements: Peace & Victory. Based on Missa Brevis, VI/I/4. Unperformed.
1. The Mystery Caller: 20 minutes: 2 mimes, narrator, Bb and piano; Cablecast on BNN-TV, with John Kristensen, narrator; Leonard Diggins, mime, and the composer; Bb, synthesizer, piano, mime and animation. A man receives provocative phone calls from a mystery caller; narrated by his lover. Shown at Mobius in a program of works that had been censured.
2. The Search for Mr. Big: 25 minutes: Bb and synthesizer; narrator and 4 other characters. Slightly cut version was cablecast on BNN-TV with Brian Mark and Tony Stegal (his two lovers: Harold and Tom) and Jimmie York (Harold's mother; Jennie the land lady) with composer; Bb, synthesizer. It was informally shown at The Boston Ramrod. A gay man dates two heavy men.
3. George Scrobe: 5 minutes: cT cT b, low rock singer, and piano. A gay man tries to kill himself and finds love in the process. Features two original rock songs. Unperformed.
4. Cinderfella Underwear: 15 minutes: cT cT, T b, Bb; piano. A gay version of the fairy tale. An extra large undergarment substitutes for the slipper. Selections performed by the composer.
5. Red Riding Hood: 10 minutes: S A T B; dancers and piano. A newly married lesbian couple are chased by a very bad wolf. Unperformed.
6. Peter Pansy: 15 minutes: S A T B; dancers, and synthesizer. Hook meets an awful end after tries to have his way with (lipstick lesbian) Pinker Bell. Features another rock song. Unperformed.
1. Saban ("We are Sabanists"): 4 and a half minutes after a dream from 8/13/21 and a Jungian session with Normand Grenier on 8/19/21 11-12; Withheld.
1a. Saban ("We are Sabanists"): 8/21/21: orchestra 2/2/2/2 2/2/2/1 perc. timp. strings.
1b. Saban ("We are Sabanists"): 8/19/21: 12-12.45 pm wrote the original version;
1c. Saban ("We are Sabanists"): 8/20/21. piano solo; See II/IIIc.
4. Saban ("We are Sabanists"): 4 and a half minutes after a dream from 8/13/21 and a Jungian session with Normand Grenier on 8/19/21 11-12; 8/19/21: 12-12.45 pm wrote the original version; piano; 8/20/21. See III/I/1.
1000 Breezes: 6 minutes and 10 seconds; the composer's birthday card to the poet: 10/22/19, poem by Drew Hubbard; the poet's birthday card to the composer: early 1990s? VI/III/2 for TTB chorus. See VI/2; related to VI/II/3.
3a. 1000 Breezes: with xylophone/gong; vibraphone & marimba. Unperformed.
3b. 1000 Breezes: with guitar and 'cello. Unperformed.
3c. 1000 Breezes: with piano. Unperformed.
5. VII/I/1. Donkey Blues: String quartet based on "Donkey, Donkey" and "Love is Like The Wind" from Pinocchio & Gaynocchio. (See IV/V/1 & VIII/I/1).
5a. Donkey Blues; 4 minutes exactly; for String Quartet Slapdown 7 in 2020.
5b. Donkey Blues: 6 minute version, slower tempos in the middle section.
Medusa Seduca: on a really bad
hair day, Medusa (DEW) looks over various suitors (all played by TJ Norris)
to find one who will provide
the perfect kiss. Please click on
the lovely dragon robe (made by
my father, Sam Walter) to watch
MEDUSA SEDUCA:
I studied Harmony, Counterpoint and then Composition privately with Marilyn Keiser from age thirteen to sixteen. As a result of this early training, at The Juilliard School of Music, I placed out of secondary piano and the first two years of theory. At Juilliard I studied composition with Vincent Persichetti, David Diamond, Hal Overton and Otto Leuning. 6 degrees of separation in the pop-up below the heading for this page shows the sometimes bizarre tendrils leading back in for centuries from these and some of my other teachers.
At Juilliard, I was a voice student of Oren Brown. Later I also studied voice with Metropolitan Opera stars: Jeffrey Gall (counter tenor) and Jerome Hines (bass). I also studied accompanying with Phillis Lehrer. I also premiered the male solos in the newly discovered chamber version The Fauré Requiem at King's Chapel, Boston under Daniel Pinkham.
At Juilliard I studied composition with Vincent Persichetti, David Diamond, Hal Overton and Otto Leuning. 6 degrees of separation in the pop-up below the heading for this page shows the sometimes bizarre tendrils leading back in for centuries from these and some of my other teachers.
At Juilliard, I was a voice student of Oren Brown. Later I also studied voice with Metropolitan Opera star, Jeffrey Gall (counter tenor) and Jerome Hines (bass). I also studied accompanying with Phillis Lehrer. I also premiered the male solos in the newly discovered chamber version The Fauré Requiem at King's Chapel, Boston under Daniel Pinkham. Two of my mentors were particularly helpful: Vincent Persichetti and Calvin Hampton. Persichetti stressed listening for the psychological timing of musical ideas, while Hampton stressed the importance of having an catchy idea, followed by a contrast and a return. This simple formula is the basis of all of my work.
I received a Master's degree in vocal performance from Trenton State Teacher's College.
At Trenton State I was also a teaching assistant. Later, I pursued a PhD in musical composition at Boston University. There I taught courses in Ear Training and Keyboard Harmony on a teaching fellowship. Subsequently I was offered post graduate scholarships in opera at Boston Conservatory and New England Conservatory.
2010: Ed II and Gd. Alone S. 2010? Antigon and Hamlet.
Also in 2012 Fire Chant was commissioned by Non-Verbal Sacred Chants.
A one minute clip from "Three
pieces for Clarinet" was recorded
by Romualdo Barone.
II. General Notes on the Performance of my Music:
1. When I write: con Ped. for the piano or celesta, I mean "legato" and leave the specific pedaling to the performer.
2. In my instrumental music I write a tenuto over all notes that are not tied or otherwise phrased. It thereby means to hold the note for the entire length.
3. The exception lies in vocal music, where legato is implied as the default method of performance. Here"tenuto" truly means held: rather than dynamic change: crescendo
or diminuendo as in messo di voce. Further tenuto implies that the section of the vocal work is not legato, but rather detached, and, perhaps, slightly stressed, though not to the point of accent.
4. I don't CARE a snap about fachs in vocal music. I don't even care about genders. If a singer wants to perform my music, and feels that he or she can add something to it or feels that it is in his or her voice, then let him or her sing it.
5. I was born with a fluctuating beat... constant alternation of ritardando and accelerando is my general mode of existence. Music for me is fluid. I feel that this ebb and flow is essential to all of my music.
6. Finally, I know that people will take my music at a faster tempo than I intend. It has always been so. I have a slow, sorrowful muse. That is the way it has to be. I only hope that reason and good taste will guide those who perform my music. Remember the words of Clara Schumann: "Beautiful things should not be rushed." So if you find my music at all beautiful, please take her words to heart.
With all my best wishes, David Walther, composer.My current catalogue features around 200 of my best pieces (around 52 and a half hours of music), the titles highlighted in red. Various alternate versions are highlighted in green and not included in the number of hours: chamber (5 and a half hours); keyboard (1 and half hours); orchestral (including orchestral ballets; 6 and a half hours); solo vocal (4 and a half hours); choral (3 hours); opera (18 hours); and music theater (12 and a half hours).
The tradition chronological method of listing compositions does not work for me.
I started composing very young... I don't know how young. Any of my pieces may
be withheld at any given time. Also, I constantly tend to make new orchestrations, changes, and arrangements of my music. As a result, I use the method by which
Haydn's music is categorized: by instrumentation rather than by chronology.
Education: B. A. in composition; The Juilliard School of Music, NYC. (honorary scholarship in Junior year.) M.A. in vocal performance: Trenton State Teachers' College Trenton, NJ. Ph.D. work at Boston University (teaching fellow; taught courses in ear training and keyboard harmony). Post graduate work at New England and Boston Conservatory in Opera (scholarship). Composition Teachers: Vincent Persichetti, David Diamond, Otto Luening... Voice Teachers: Oren Brown, Jerome Hines, Jeffrey Gall...
Music performed: Cathedral of St. John The Divine in NYC, Copley Square Ballet Company, Kinetic Dance Theater of Moscow, M. I. T. Concert Band, Mobius, North Shore Civic Ballet, OutLook Film & Video, NYC; Hartmut Schulz, Cologne, Germany.
Grants: "Swallow and The Prince" grant from The Town of Dedham Cultural Council (for Acting Singers Project). Edward II: generous grant from Daniel B. Kelly for professional recording.
Commissions: Invocation for Organ: American Guild of Organists; published by E. C. Schirmer; Fire Chant: Non-Verbal Sacred Chants; Boston Metro Opera
Awards: Birthday on The Moon, second place: Long Leaf Opera Competition; Antigon Boston Metro's Main-Stage Award International Competition; Alone Gd. Sufficeth Director's Prize: Longfellow Chorus Composition Competition.
Composer in Residence: Music Now & Now Dance (one of 3 composers; also Artistic Director); Prime Time for Kids at Masasoit College, Brockton, MA (also Music Director); Putnam Court Musicians (also regular performer);
4. Dunt: 4 minutes: to a poem by Alice Oswald (u.c.). Unperformed. Based on the final movement of I/IX/1; and III/IV/4e.
Dance "Home Page: sound track as used in performance by The Kinetic Dance Theater of Moscow.
From Dance about Journey: Narrations by the composer with poems by James Joyce; one hour of music; 3 scenes, 22 numbers. with dancers, 1-5 singers andS 1 or 2 narrators. About half of this work is a faux-folk cross-over. A gay man goes to an alternate universe to destroy "The Beast" but, as a gay man, he would be killed immediately, so he goes as a woman; he finds the love of his life there, and the two women return to the original universe as gay men to continue their love. This piece can also be performed unstaged as an oratorio, or as a staged opera (see VII/I/5; with more audio clips).
2a. The Journey: Mallets, percussion, piano, harp and strings (D.B. quartet or orchestra);
2b. The Journey: Mallets, percussion, piano, and strings (D.B. quartet or orchestra.);
2c. The Journey: with piano and synthesizer: 8 numbers (of 22) were recorded by the composer, bass-baritone and counter-tenor. The overture (synthesized harp) was premiered in 1990 by Kinetic Dance Company of Moscow, Otherwise unperformed. You can hear this selection below.
From Operas: 5. The Journey: Narrations by the composer with poems by James Joyce; one hour of music; an hour and a quarter with narrations; 3 scenes, 24 numbers: 1-5 singers and 1 or 2 narrators. About half of this work is a faux-folk music third stream. A gay man goes to an alternate universe to destroy "The Beast" but, as a gay man, he would be killed immediately, so he goes as a woman; he finds the love of his life there, and the two women return to the original universe as gay men to continue their love. This piece can be performed un-staged as an oratorio; or staged as an opera or ballet (see IV/IV/2).
5a. The Journey: Mallets, percussion, piano, harp and strings (D.B. quartet or orchestra);
5b. The Journey: Mallets, percussion, piano, and strings (D.B. quartet or orchestra.);
5c. The Journey: with piano and synthesizer: 6 numbers (of 24) were recorded by the composer, bass-baritone and countertenor. You can hear it with the button below:
III/IV/4e. Third Movement: Hope: The 4 minute choral piece: "Dunt" (u.c) VI/I/4. Unperformed.
Movement I is based on a "Magnificat" and Nunc Dimitis" premiered by soprano, Janet Wheeler, in Manchester by The Sea, MA, USA.
Keyboard:
IIIe. Piano with Orchestra:
1. Piano Concerto: 3 movements; 17 minutes and 20 seconds.
1a. Piano Concerto: with strings and percussion. Unperformed.
1b. Piano Concerto: with piano solo and string quintet: 2/1/1/1. See III/II/6 Unperformed.
Orchestral:
5. Piano Concerto: 3 movements; 17 minutes and 20 seconds; See II/IIIe/1.
5a. Piano Concerto: with strings and percussion. See I/VI/1. Unperformed.
5b. Piano Concerto: with piano solo and string quintet: 2/1/1/1. See I/ Unperformed.'Cello Concerto: projected 10 minutes; 3 movements; first movement complete; unperformed.
5a. 'Cello Concerto: with string orchestra.
5b. 'Cello Concerto: with piano. See I/II/15.
1d. Sonata for French Horn and Marimba: Lunar Eclipse: 11 minutes.
3a. III/II/2b. The Crystal Forest: 17 minutes; piano solo. Unperformed in this version.
3b. III/II/2c. The Crystal Forest: 5 minute piano solo version was used for "Medusa Seduca" which was cablecast on BNN-TV: a gay man (the composer) on a bad hair day meets many suitors (TJ Norris) until he finds the perfect kiss. Otherwise unperformed.
1. Concerto for Tenor Saxophone, or Bass Clarinet: Lunar Eclipse:
1a. Concerto for Tenor Saxophone, or Bass Clarinet: Lunar Eclipse:
with harp or piano, percussion, timpani and strings.
1b. Concerto for Tenor Saxophone or Bass Clarinet: Lunar Eclipse:
12 minutes; with harp or piano and string quintet: 2/1/1/1.
1c. Concerto for Tenor Saxophone or Bass Clarinet: Lunar Eclipse:
with piano. Performed by Christian Contreras, tenor saxophone with pianist, Yelena Beriyeva on 1/27/12 with BMO. There performance: 7 and a half minutes. See I/II/12.
2. Concerto for Tenor Saxophone: The Crystal Forest: 17 minutes and 40 seconds.
2a. The Crystal Forest: with medium size orchestra: 2/2/2/2 2/2/2/1 1
timpani, harp and strings. Unperformed in this version.
2b. The Crystal Forest: with piano solo. See II/IIId/3a.
2c. The Crystal Forest: for piano solo. See II/IIId/3a.
2d. The Crystal Forest: 5 minute piano solo version used for "Medusa Seduca" which was cablecast on BNN-TV: a gay man (the composer) on a bad hair day meets many suitors (TJ Norris) until he finds the perfect kiss. See II/IIId/3b.
4. Harp Concerto: The Primeval Forest: 17 minutes; Two movements; harp, timpani & string orchestra. Unperformed. See Piano Sonata #I: II/IIIb/1. In Keyboards: See harp concerto: III/IIb/4.
Sonata for Oboe and Piano: 17 and a half minutes; 6 movements. Tells the story of "Orpheus and Eurydice" this time with a happy ending. Finished on May 20, 2019 for Concurso Internacional de Composición Musical Real Academia de Bellas Artes de San Carlos. Status pending. Unperformed.
4a. Duo IV: after e. e. cummings: 3 variations on Bb: 6 minutes & 20 seconds; 5 movements for violin & viola; unperformed.
3. Three Songs to Poems by James Joyce: set of 3; "Alone"
(1 minute & 40 seconds) is available; the other two are lost
or incomplete.. Unperformed.
Scaramouch et Pulcinella:
May have been performed at The Aichi University of The arts, Nagakute, Japan; with clarinetist, Romualdo Barone.
In preparation for performance, with clarinetist, Romualdo Barone, at The Aichi University of The Arts, Nagakute, Japan.
Book II. Concerto Ballets: (see III/IIc: orchestra)
1. - 4. The Lovers: 17 & a half minutes; 6 movements; based on the myth of Orpheus & Eurydice, with a happy ending. Inspired by "The Lovers" by Marc Chagall. See I/II/ 7-11 & III/II/1-5.
1a. Flute Concerto: with percussion, timpani and strings 9/1-2/23;
1b. Flute Concerto: with piano; in Spanish.
2a. Alto Flute Concerto: with percussion, timpani and strings;
2b. Alto Flute Concerto: with piano.
3a. Oboe Concerto: with percussion, timpani and strings;
3b. Oboe Concerto: with piano; in Spanish.
4a. Clarinet Concerto: with percussion, timpani and strings;
4b. Clarinet Concerto: with piano; written for Christian Contreras.
5a. Viola Concerto: with percussion, timpani and strings;
5b. Viola Concerto: with piano; the viola concerto is the original version. It is a whole step lower than the other 3 concerto ballets; written for my husband, Drew Hubbard.
Concerto Ballets: 1. - 5. The Lovers: 17 and a half minutes; 6 movements; based on the myth of Orpheus and Eurydice, with a happy ending. Inspired by "The Lovers" by Marc Chagall. See IV/I/6 and III/II/1 (Clarinet Concerto) and III/II/5 (Viola Concerto). See Volume IV: Book II and Volume I: Book II: 7-111.
2c. Second Movement: Sorrow: eight part crab canon for flute octet, commissioned by Donald Maher. See I/VIII/5. Unperformed.
1a. Flute Concerto: with percussion, timpani and strings;
1b. Flute Concerto: with piano; in Spanish; 9/1-2/23; see I/II/8.
2a. Alto Flute Concerto: with percussion, timpani and strings;
2b. Alto Flute Concerto: with piano; see I/II/9.
3a. Oboe Concerto: with percussion, timpani and strings;
3b. Oboe Concerto: with piano; in Spanish; see I/II/10.
5a. Viola Concerto: with percussion, timpani and strings;
5b. Viola Concerto: with piano. The viola concerto is the original version; It is a whole step lower than the other three concertos. see I/II/12. for my husband, Drew Hubbard.
7. - 11. III/IIc: Concerto Ballets: The Lovers: 17 and a half minutes; 6 movements; based on the myth of Orpheus and Eurydice, with a happy ending. Inspired by "The Lovers" by Marc Chagall. See Volume III & IV: Book IIb.
7. Flute Concerto: with piano; in Spanish; 9/1-2/23;
8. Alto Flute Concerto: with piano;
9. Oboe Concerto: with piano; in Spanish;
10. Clarinet Concerto: with piano; for Christian Contreras;
11. Viola Concerto: for my husband, Drew Hubbard. The viola concerto is the original version; It is a whole step lower than the other four concertos.
Joseph Gelineau (1920-2008), Selected Psalms (1953): selections transposed, edited and re-harmonized for performance by DEW at The Weston United Methodist Church, 2013-2014.
4. When the Heart is Full of Love: songs for soprano or mezzo-soprano & piano,
Set to anonymous poets extracted from "The Mask of The Witches" VI/II//6 & Vii/II/6. Uses the Major/Major 7th and minor/minor 7th jazz chords leaning toward the tritone in
simulation of European village melodies and harmonies.
4a When the Heart is Full of Love: 7 & a half minutes: 3 songs sung by The Sister.
4b. When the Heart is Full of Love: 13 & a half minutes: the three songs from 4a. preceeded by, & followed by the WIccan Hight Priestesses song: "Har, Har, Hou, Hou."
5. Red Riding Hoods: 6# pocket musical in 3 scenes; A bB 2N & piano; two lesbians go to "The Hall of Justice" to be married. On the way they confront a (MAGA Republican) werewolf.
9. School of The Night: 4#s a pocket musical; for Bb B; 2 actors & piano. Tells of the mysterious events surrounding the supposed death of Christopher Marlowe, & the assassination of Giordono Bruno, including a very difficult setting of his "Ode." The first and last number start "Edward II" and were recorded by the composer, Bb with The Acting Singers Project, VII/I/2. The other 2 numbers, not recorded.
Peter Pansy: 8#; an hou video paradyr; mrxxo-soprano/actress' 3 male, 1 female actress; 1 male mime, & piano; Wendy tries to pursuade Peter not to pursue The Crocodile; Tiger 'Lil saves her lipstick lesbian, Pinkerbell from Hook, who gats more than he barained for. Unperformed.
IV. Philosophic Plays with Music:
1. Canon Law: 9#s for acting singers: S S A T B & piano. Poems by Mother Goose. A Catholic Priest faces challenges: abortion, birth control; divorce, women priests, gay marriage, love.... Selections recorded by Drew Hubbard, Bb, with the composer, piano. Otherwise unperformed.
2. Gd., The Musical: a philosophic play with music in two parts: about the 7 theories about the nature of Gd. & the fact that everyone agrees. 90 minutes.
1. Egg: 10 #s; 60 minute play with music; 7 singers; opt. actress (Jo); dancers, & piano. A mysterious object is seen on the monitors of a star ship. An argument ensues amongst the crew. Then they fight against The Noetic Beings (the idea that no one, or worse, nothing, exists). Between parts, Hermes talks with Jo the bagger in the super-market.
2. Andrew's Dream: 9#s, 30 minutes; a ballet for dancers, vocal chorus, bass & piano. Andrew & Dave save the world from the Noetic beings, with the help of Mercury, Jesus, Gia, Sophia & The Pope. Unperformed..
3. New Hope Christian Fellowship Ministry Crusade & Home Shopping Network:
90 minute comedy: a play with music: 6#s (vocal themesong, commercials; & a solo, with piano, sythesizer or jazz band): 5 on-stage voices (one sings); maximum of 9 phone callers, and 2 additional off-stage voices. Two women (or men in drag) discuss a show featuring two "Christian" telemarketers. They listen to the show whcih is a disaster. The music is taken from VIII/I/2 & VIII/I/7.
6. Prayer for Ukraine: 11 and a half for string trio; 2022; 2 movements: Peace & Victory. Based on Missa Brevis, VI/I/4. Unperformed.
1. The Mystery Caller: 20 minutes: 2 mimes, narrator, Bb and piano; Cablecast on BNN-TV, with John Kristensen, narrator; Leonard Diggins, mime, and the composer; Bb, synthesizer, piano, mime and animation. A man receives provocative phone calls from a mystery caller; narrated by his lover. Shown at Mobius in a program of works that had been censured.
2. The Search for Mr. Big: 25 minutes: Bb and synthesizer; narrator and 4 other characters. Slightly cut version was cablecast on BNN-TV with Brian Mark and Tony Stegal (his two lovers: Harold and Tom) and Jimmie York (Harold's mother; Jennie the land lady) with composer; Bb, synthesizer. It was informally shown at The Boston Ramrod. A gay man dates two heavy men.
3. George Scrobe: 5 minutes: cT cT b, low rock singer, and piano. A gay man tries to kill himself and finds love in the process. Features two original rock songs. Unperformed.
4. Cinderfella Underwear: 15 minutes: cT cT, T b, Bb; piano. A gay version of the fairy tale. An extra large undergarment substitutes for the slipper. Selections performed by the composer.
5. Red Riding Hood: 10 minutes: S A T B; dancers and piano. A newly married lesbian couple are chased by a very bad wolf. Unperformed.
6. Peter Pansy: 15 minutes: S A T B; dancers, and synthesizer. Hook meets an awful end after tries to have his way with (lipstick lesbian) Pinker Bell. Features another rock song. Unperformed.
1. Saban ("We are Sabanists"): 4 and a half minutes after a dream from 8/13/21 and a Jungian session with Normand Grenier on 8/19/21 11-12; Withheld.
1a. Saban ("We are Sabanists"): 8/21/21: orchestra 2/2/2/2 2/2/2/1 perc. timp. strings.
1b. Saban ("We are Sabanists"): 8/19/21: 12-12.45 pm wrote the original version;
1c. Saban ("We are Sabanists"): 8/20/21. piano solo; See II/IIIc.
4. Saban ("We are Sabanists"): 4 and a half minutes after a dream from 8/13/21 and a Jungian session with Normand Grenier on 8/19/21 11-12; 8/19/21: 12-12.45 pm wrote the original version; piano; 8/20/21. See III/I/1.
1000 Breezes: 6 minutes and 10 seconds; the composer's birthday card to the poet: 10/22/19, poem by Drew Hubbard; the poet's birthday card to the composer: early 1990s? VI/III/2 for TTB chorus. See VI/2; related to VI/II/3.
3a. 1000 Breezes: with xylophone/gong; vibraphone & marimba. Unperformed.
3b. 1000 Breezes: with guitar and 'cello. Unperformed.
3c. 1000 Breezes: with piano. Unperformed.
5. VII/I/1. Donkey Blues: String quartet based on "Donkey, Donkey" and "Love is Like The Wind" from Pinocchio & Gaynocchio. (See IV/V/1 & VIII/I/1).
5a. Donkey Blues; 4 minutes exactly; for String Quartet Slapdown 7 in 2020.
5b. Donkey Blues: 6 minute version, slower tempos in the middle section.
Medusa Seduca: on a really bad
hair day, Medusa (DEW) looks over various suitors (all played by TJ Norris)
to find one who will provide
the perfect kiss. Please click on
the lovely dragon robe (made by
my father, Sam Walter) to watch
MEDUSA SEDUCA:
I studied Harmony, Counterpoint and then Composition privately with Marilyn Keiser from age thirteen to sixteen. As a result of this early training, at The Juilliard School of Music, I placed out of secondary piano and the first two years of theory. At Juilliard I studied composition with Vincent Persichetti, David Diamond, Hal Overton and Otto Leuning. 6 degrees of separation in the pop-up below the heading for this page shows the sometimes bizarre tendrils leading back in for centuries from these and some of my other teachers.
At Juilliard, I was a voice student of Oren Brown. Later I also studied voice with Metropolitan Opera stars: Jeffrey Gall (counter tenor) and Jerome Hines (bass). I also studied accompanying with Phillis Lehrer. I also premiered the male solos in the newly discovered chamber version The Fauré Requiem at King's Chapel, Boston under Daniel Pinkham.
At Juilliard I studied composition with Vincent Persichetti, David Diamond, Hal Overton and Otto Leuning. 6 degrees of separation in the pop-up below the heading for this page shows the sometimes bizarre tendrils leading back in for centuries from these and some of my other teachers.
At Juilliard, I was a voice student of Oren Brown. Later I also studied voice with Metropolitan Opera star, Jeffrey Gall (counter tenor) and Jerome Hines (bass). I also studied accompanying with Phillis Lehrer. I also premiered the male solos in the newly discovered chamber version The Fauré Requiem at King's Chapel, Boston under Daniel Pinkham. Two of my mentors were particularly helpful: Vincent Persichetti and Calvin Hampton. Persichetti stressed listening for the psychological timing of musical ideas, while Hampton stressed the importance of having an catchy idea, followed by a contrast and a return. This simple formula is the basis of all of my work.
I received a Master's degree in vocal performance from Trenton State Teacher's College.
At Trenton State I was also a teaching assistant. Later, I pursued a PhD in musical composition at Boston University. There I taught courses in Ear Training and Keyboard Harmony on a teaching fellowship. Subsequently I was offered post graduate scholarships in opera at Boston Conservatory and New England Conservatory.
2010: Ed II and Gd. Alone S. 2010? Antigon and Hamlet.
Also in 2012 Fire Chant was commissioned by Non-Verbal Sacred Chants.
A one minute clip from "Three
pieces for Clarinet" was recorded
by Romualdo Barone.
II. General Notes on the Performance of my Music:
1. When I write: con Ped. for the piano or celesta, I mean "legato" and leave the specific pedaling to the performer.
2. In my instrumental music I write a tenuto over all notes that are not tied or otherwise phrased. It thereby means to hold the note for the entire length.
3. The exception lies in vocal music, where legato is implied as the default method of performance. Here"tenuto" truly means held: rather than dynamic change: crescendo
or diminuendo as in messo di voce. Further tenuto implies that the section of the vocal work is not legato, but rather detached, and, perhaps, slightly stressed, though not to the point of accent.
4. I don't CARE a snap about fachs in vocal music. I don't even care about genders. If a singer wants to perform my music, and feels that he or she can add something to it or feels that it is in his or her voice, then let him or her sing it.
5. I was born with a fluctuating beat... constant alternation of ritardando and accelerando is my general mode of existence. Music for me is fluid. I feel that this ebb and flow is essential to all of my music.
6. Finally, I know that people will take my music at a faster tempo than I intend. It has always been so. I have a slow, sorrowful muse. That is the way it has to be. I only hope that reason and good taste will guide those who perform my music. Remember the words of Clara Schumann: "Beautiful things should not be rushed." So if you find my music at all beautiful, please take her words to heart.
With all my best wishes, David Walther, composer.My current catalogue features around 200 of my best pieces (around 52 and a half hours of music), the titles highlighted in red. Various alternate versions are highlighted in green and not included in the number of hours: chamber (5 and a half hours); keyboard (1 and half hours); orchestral (including orchestral ballets; 6 and a half hours); solo vocal (4 and a half hours); choral (3 hours); opera (18 hours); and music theater (12 and a half hours).
The tradition chronological method of listing compositions does not work for me.
I started composing very young... I don't know how young. Any of my pieces may
be withheld at any given time. Also, I constantly tend to make new orchestrations, changes, and arrangements of my music. As a result, I use the method by which
Haydn's music is categorized: by instrumentation rather than by chronology.
Education: B. A. in composition; The Juilliard School of Music, NYC. (honorary scholarship in Junior year.) M.A. in vocal performance: Trenton State Teachers' College Trenton, NJ. Ph.D. work at Boston University (teaching fellow; taught courses in ear training and keyboard harmony). Post graduate work at New England and Boston Conservatory in Opera (scholarship). Composition Teachers: Vincent Persichetti, David Diamond, Otto Luening... Voice Teachers: Oren Brown, Jerome Hines, Jeffrey Gall...
Music performed: Cathedral of St. John The Divine in NYC, Copley Square Ballet Company, Kinetic Dance Theater of Moscow, M. I. T. Concert Band, Mobius, North Shore Civic Ballet, OutLook Film & Video, NYC; Hartmut Schulz, Cologne, Germany.
Grants: "Swallow and The Prince" grant from The Town of Dedham Cultural Council (for Acting Singers Project). Edward II: generous grant from Daniel B. Kelly for professional recording.
Commissions: Invocation for Organ: American Guild of Organists; published by E. C. Schirmer; Fire Chant: Non-Verbal Sacred Chants; Boston Metro Opera
Awards: Birthday on The Moon, second place: Long Leaf Opera Competition; Antigon Boston Metro's Main-Stage Award International Competition; Alone Gd. Sufficeth Director's Prize: Longfellow Chorus Composition Competition.
Composer in Residence: Music Now & Now Dance (one of 3 composers; also Artistic Director); Prime Time for Kids at Masasoit College, Brockton, MA (also Music Director); Putnam Court Musicians (also regular performer);
4. Dunt: 4 minutes: to a poem by Alice Oswald (u.c.). Unperformed. Based on the final movement of I/IX/1; and III/IV/4e.
Dance "Home Page: sound track as used in performance by The Kinetic Dance Theater of Moscow.
From Dance about Journey: Narrations by the composer with poems by James Joyce; one hour of music; 3 scenes, 22 numbers. with dancers, 1-5 singers andS 1 or 2 narrators. About half of this work is a faux-folk cross-over. A gay man goes to an alternate universe to destroy "The Beast" but, as a gay man, he would be killed immediately, so he goes as a woman; he finds the love of his life there, and the two women return to the original universe as gay men to continue their love. This piece can also be performed unstaged as an oratorio, or as a staged opera (see VII/I/5; with more audio clips).
2a. The Journey: Mallets, percussion, piano, harp and strings (D.B. quartet or orchestra);
2b. The Journey: Mallets, percussion, piano, and strings (D.B. quartet or orchestra.);
2c. The Journey: with piano and synthesizer: 8 numbers (of 22) were recorded by the composer, bass-baritone and counter-tenor. The overture (synthesized harp) was premiered in 1990 by Kinetic Dance Company of Moscow, Otherwise unperformed. You can hear this selection below.
From Operas: 5. The Journey: Narrations by the composer with poems by James Joyce; one hour of music; an hour and a quarter with narrations; 3 scenes, 24 numbers: 1-5 singers and 1 or 2 narrators. About half of this work is a faux-folk music third stream. A gay man goes to an alternate universe to destroy "The Beast" but, as a gay man, he would be killed immediately, so he goes as a woman; he finds the love of his life there, and the two women return to the original universe as gay men to continue their love. This piece can be performed un-staged as an oratorio; or staged as an opera or ballet (see IV/IV/2).
5a. The Journey: Mallets, percussion, piano, harp and strings (D.B. quartet or orchestra);
5b. The Journey: Mallets, percussion, piano, and strings (D.B. quartet or orchestra.);
5c. The Journey: with piano and synthesizer: 6 numbers (of 24) were recorded by the composer, bass-baritone and countertenor. You can hear it with the button below:
III/IV/4e. Third Movement: Hope: The 4 minute choral piece: "Dunt" (u.c) VI/I/4. Unperformed.
Movement I is based on a "Magnificat" and Nunc Dimitis" premiered by soprano, Janet Wheeler, in Manchester by The Sea, MA, USA.
Keyboard:
IIIe. Piano with Orchestra:
1. Piano Concerto: 3 movements; 17 minutes and 20 seconds.
1a. Piano Concerto: with strings and percussion. Unperformed.
1b. Piano Concerto: with piano solo and string quintet: 2/1/1/1. See III/II/6 Unperformed.
Orchestral:
5. Piano Concerto: 3 movements; 17 minutes and 20 seconds; See II/IIIe/1.
5a. Piano Concerto: with strings and percussion. See I/VI/1. Unperformed.
5b. Piano Concerto: with piano solo and string quintet: 2/1/1/1. See I/ Unperformed.'Cello Concerto: projected 10 minutes; 3 movements; first movement complete; unperformed.
5a. 'Cello Concerto: with string orchestra.
5b. 'Cello Concerto: with piano. See I/II/15.
1d. Sonata for French Horn and Marimba: Lunar Eclipse: 11 minutes.
3a. III/II/2b. The Crystal Forest: 17 minutes; piano solo. Unperformed in this version.
3b. III/II/2c. The Crystal Forest: 5 minute piano solo version was used for "Medusa Seduca" which was cablecast on BNN-TV: a gay man (the composer) on a bad hair day meets many suitors (TJ Norris) until he finds the perfect kiss. Otherwise unperformed.
1. Concerto for Tenor Saxophone, or Bass Clarinet: Lunar Eclipse:
1a. Concerto for Tenor Saxophone, or Bass Clarinet: Lunar Eclipse:
with harp or piano, percussion, timpani and strings.
1b. Concerto for Tenor Saxophone or Bass Clarinet: Lunar Eclipse:
12 minutes; with harp or piano and string quintet: 2/1/1/1.
1c. Concerto for Tenor Saxophone or Bass Clarinet: Lunar Eclipse:
with piano. Performed by Christian Contreras, tenor saxophone with pianist, Yelena Beriyeva on 1/27/12 with BMO. There performance: 7 and a half minutes. See I/II/12.
2. Concerto for Tenor Saxophone: The Crystal Forest: 17 minutes and 40 seconds.
2a. The Crystal Forest: with medium size orchestra: 2/2/2/2 2/2/2/1 1
timpani, harp and strings. Unperformed in this version.
2b. The Crystal Forest: with piano solo. See II/IIId/3a.
2c. The Crystal Forest: for piano solo. See II/IIId/3a.
2d. The Crystal Forest: 5 minute piano solo version used for "Medusa Seduca" which was cablecast on BNN-TV: a gay man (the composer) on a bad hair day meets many suitors (TJ Norris) until he finds the perfect kiss. See II/IIId/3b.
4. Harp Concerto: The Primeval Forest: 17 minutes; Two movements; harp, timpani & string orchestra. Unperformed. See Piano Sonata #I: II/IIIb/1. In Keyboards: See harp concerto: III/IIb/4.
Sonata for Oboe and Piano: 17 and a half minutes; 6 movements. Tells the story of "Orpheus and Eurydice" this time with a happy ending. Finished on May 20, 2019 for Concurso Internacional de Composición Musical Real Academia de Bellas Artes de San Carlos. Status pending. Unperformed.
iThe 9 part brass section first heard on page two reminds me of "The Last Judgement" as depicted in "The Book of Revelation" and Tarot Card number 21. The second theme is borrowed from my song cycle "
There are four phases of "Light" 1. EM (electromagnetic): When I was 17 or 18 I wrote a double fugue. My father, Dr. Sam Walter played it at Vorhees Chapel, Douglas College, Rutgers University where he was a professor and the chapel organist. My first piano teacher, Dr. Thomas Ritchner (who was the organist of The Mother Church, Boston and also taught at Douglas) said "I followed the fugue for about two measures." He was correct... it's very difficult to distinguish the voices, as the two fugue subjects continually overlap. There are two kinds of double fugues: one with two complete expositions that occur separately; and one where they occur simultaneously as in this piece. I may have been studying with Robert Moevs at the time; but I don't remember anyone commenting on the piece before the performance: usually I remember something that I learned or some disagreement that I had with my teacher, so it is likely that I was between teachers at this point.
2. UV (sunlight) my dear friend, composer Merton Brown, was having a piece performed by John Corely and the M. I. T. Concert Band. He suggested that I send one along too. So I resurrected this piece in it's second phase: as a band piece. They actually performed the piece twice on the same concert, as it was very short. I now think that the performance was too fast, although this does give it a certain excitement, but it makes it harder to hear the two subjects. The repeat was also added at this time. I felt that I could finally hear the "sunlight" of the two subjects in this version.
3. IR (infrared) The recording of the piece was used in the "Crazy Dinosaurs" television series: an animated show that was cablecast on BNN-TV. The series won several honors in the USA Film and Video Competition. There was also a full page article in "The Advocate" magazine, with a full page photo (with very tiny dinosaurs); and a front page article in Bay Windows. The video was called "Light." In the show: the land of the dinosaurs had been flooded by a mysterious red light. Also, P'ter A. Dactyl had gone missing. He was being held captive by Terry Anne Tasaurus Rex, and he was being shown TV commercials. Pteradactyls cry during TV commercials... this was causing the strange light. Emily Brontesaurus came charging in and saved the (UV) day, just as the band version had saved the double fugue. You can judge for yourself. Here's a link: https://vimeo.com/131149864
4. UV (ultraviolet): no human has heard this one yet as it hasn't been performed. In 2016 or 17 I re-wrote "Light" for large orchestra. It is this phase of "Light" that I am transmitting today. I think that both the band and the orchestra versions show the individual lines of the piece in a way that was missing in the first (and withheld) organ version of the piece. Disclaimers: even though this piece was performed at M. I. T. I know nothing about the physics of light, also the story used in the IR spectrum (number 3 above) is completely fictional, and any similarity to any creature, living or extinct is purely accidental. I wish you all the best of luck in this project, whether or not you chose to include me in it.
Voicing self as reflected in "Echo and Mirage"
When I cry out, my being is reflected in a Echo... but it is a Mirage. It is an expression of me, but it is not me. I recorded it with soprano, Nancy King, and with me playing the accompaniment. Unfortunately only the middle section is available. I am sending it to you today. This piece is actually based on two poems by Christina Rossetti: "Echo" and "Mirage." Both poems are set in their entirety, but "Echo" is divided after the second line of the third verse. The poem is concluded after the "Mirage" section. The two poems equate the land of death with the land of dream. The listener is invited to come away to this place. Is death the annihilation of the self? The poem suggests that it is not... it is a transition to a place where imagination becomes alive. I agree with this concept. I am a composer living in Boston, MA, USA. My name is David Walther, and my website is davidedgarwalther.com by email is [email protected] and I wish you all the best of luck in this project, whether or not you chose to include me in it. Thanks, Dave.
1. Last Judgement: 3 movements; 20 minutes; soprano solo in the second movement is a setting of "Tethys" the Orphic Hymn translated by Thomas Taylor. The last movement was performed, as a double fugue for organ, by Dr. Sam Walter at Vorhees Chapel, Douglass College, Rutgers University, New Brunswick, NJ; and as a piece for concert band by The M. I. T. Concert Band under John Corely (see below).
1a. Symphony I for Large Orchestra: Last Judgement: 3/3/3/3 4/3/3/1 one percussion, timpani, soprano solo and strings. Unperformed in this version.
1b. Symphony I for Concert Band: Last Judgement: 3/3/3/3 4/3/3/1 4 saxophones (SATB) one or two percussion, timpani, soprano solo and strings.
"Light" is the last movement of Last Judgement for concert band as performed by John Corely and the M. I. T. Concert Band. This piece is also available for medium sized orchestra. This movement is a double fugue. It was shown as part of"Crazy Dinosaurs." Please see the video to the left.
Mr. Walther's Scaramouche et Pulcinella for Flute, Clarinet, Violin, 'Cello and Piano (Pierot Ensemble) is in preparation for premier in Nagakute, Japan, at Aichi University of The Arts. Clarinetist, Romualdo Barone will also perform Three Pieces for Clarinet on the same concert. The Chirkov Theater Company,
Dream Fugue: 2 minutes and 40 seconds; Fugue I: Subject from a dream; Fugue II: Inversion: Fugue III: Retrograde; Fugue IV: Retrograde Inversion. Included (down a whole step) in the Viola Concerto.
1a. Dream Fugue: string orchestra: Unperformed.
1b. Dream Fugue: string quintet: 2/1/1/1. Unperformed.
1c. Dream Fugue: piano: Unperformed.
2. . The Winds: 4 minute cycle of 4; 3 complete; Orphic Hymn, translated by Thomas Taylor. Unperformed\.To Pan: 6 minute cycle of 4 numbers, Orphic Hymn, trans. Th. Taylor. Unperformed.. The Winds: 4 minute cycle of 4; 3 complete; Orphic Hymn, translated by Thomas Taylor. Unperformed\.To Pan: 6 minute cycle of 4 numbers, Orphic Hymn, trans. Th. Taylor. Unperformed.
Chamber Music: 3 Pieces for Flute: 5 minutes; for Kristin Webb: 1. Eldood Eeoknay 2. variations. on a cup 3. untitled. Unperformed and withheld. Sonata for Solo Violin: 3 movements in 6 minutes. Unperformed. Plainchant: 10 minutes for 'cello. Unperformed and withheld. Twins: 5 minutes, for violin and piano. May be "Dance of Death." Invention: 3 minutes. Unperformed.
Keyboard Music: Momentary Pleasures: 4 minutes. Unperformed. The Twins: 5 minute. See version for Violin and Piano in "Chamber Music." Unperformed.Transformations: Piano version of Tarot Symphony #7 for string orchestra.; theme and eight variations in 10 minutes. Unperformed.
Vocal Music: 900 miles: 2 minutes; traditional folk song. Unperformed and withheld.Four Songs to Poems by Yeats: 5 minute cycle, uses material from "Three Portraits" below. All to poems by William Butler Yeats. Unperformed and withheld.
Three Valentine's Day Cards: baritone and bassoon; 6 minutes; Joyce.
Rouge et Noir: 5 minute cycle of 3 with bassoon and flute; Dickinson.The Book of Runes (Book I) The Folk Cycle: with 'cello; 10 minute cycle of 5 (two versions); Joyce. See unaccompanied version with 2 additional songs.
Choral Music: Celebration Chant: 1 minute; Carolyn Hall: text under copyright (uc). Used for The Winter Solstace Service at The First Unitarian Society of West Newton, MA. Has two original harmonizations. Healing Chant: Attributed to David Edgar Walther; text (uc?) may be by the composer, Carolyn Hall or Andrew Swan. Also exists with the ancient Guernsey text: "Har, Har, Hou, Hou" in old French & "Bagabi laca bachabe" found in "Le Miracle de Theophile" by Ruteboeuf.
. The Winds: 4 minute cycle of 4; 3 complete; Orphic Hymn, translated by Thomas Taylor. Unperformed\.To Pan: 6 minute cycle of 4 numbers, Orphic Hymn, trans. Th. Taylor. Unperformed. 1. Orphic Hymns to The Gd.ess: 3 minute cycle of 3; Orphic Hymn, translated by Thomas Taylor. Unperformed.
Credo: 3 minutes; unperformed.
Nyx: 2 part women's chorus, soprano solo; wood wind quintet, 2 trumpets, trombone, tuba, timpani & harp; 4 movements in 6 minutes. Orphic Hymn translated by Thomas Taylor. Unperformed and withheld.
Erevan Cantata: soprano solo, chorus, keyboard or orchestra (single winds, timpani & strings); 4 movements in 10 minutes; Armenian texts. Written for Father Minassian's "Erevan Chorus" at Holy Trinity Armenian Church in Cambridge, MA.. A 15 minute version uses texts by Archibald Lampman and "Har, Har, Hou, Hou" from "The Mask of the Witches" and "Andrew's Dream" found in "Music Theater." Both versions are unperformed and withheld.
Exequias Defuncti: (for the Burial of the Dead): 2 part chorus with soli; 5 movements in 8 minutes in Latin; Prudentius. Unperformed; version withheld.
Cha-cha for 3 Guitars: 4 minutes. Unperformed.
2. The Bunny Wars: Libretto and story by the composer. 15 minutes. SATB, and piano or orchestra 2/2/2/2 2/2/1/1. An anti-war comedy: to avoid World War III, two low ranking soldiers replace weapons with bunny ears. Orchestral version incomplete Unperformed.
Transformations: Theme and eight variations in 10 minutes. See version in "Keyboard Music." Unperformed. See Tarot Symphony #7. The Masque of The Red Death: 6 minutes; no harp. Based on Edgar Allan Poe. Read by The Juilliard Concert Orchestra under Thomas Ludwig, otherwise unperformed. The last page is missing.
There are four phases of "Light" 1. EM (electromagnetic): When I was 17 or 18 I wrote a double fugue. My father, Dr. Sam Walter played it at Vorhees Chapel, Douglas College, Rutgers University where he was a professor and the chapel organist. My first piano teacher, Dr. Thomas Ritchner (who was the organist of The Mother Church, Boston and also taught at Douglas) said "I followed the fugue for about two measures." He was correct... it's very difficult to distinguish the voices, as the two fugue subjects continually overlap. There are two kinds of double fugues: one with two complete expositions that occur separately; and one where they occur simultaneously as in this piece. I may have been studying with Robert Moevs at the time; but I don't remember anyone commenting on the piece before the performance: usually I remember something that I learned or some disagreement that I had with my teacher, so it is likely that I was between teachers at this point.
2. UV (sunlight) my dear friend, composer Merton Brown, was having a piece performed by John Corely and the M. I. T. Concert Band. He suggested that I send one along too. So I resurrected this piece in it's second phase: as a band piece. They actually performed the piece twice on the same concert, as it was very short. I now think that the performance was too fast, although this does give it a certain excitement, but it makes it harder to hear the two subjects. The repeat was also added at this time. I felt that I could finally hear the "sunlight" of the two subjects in this version.
3. IR (infrared) The recording of the piece was used in the "Crazy Dinosaurs" television series: an animated show that was cablecast on BNN-TV. The series won several honors in the USA Film and Video Competition. There was also a full page article in "The Advocate" magazine, with a full page photo (with very tiny dinosaurs); and a front page article in Bay Windows. The video was called "Light." In the show: the land of the dinosaurs had been flooded by a mysterious red light. Also, P'ter A. Dactyl had gone missing. He was being held captive by Terry Anne Tasaurus Rex, and he was being shown TV commercials. Pteradactyls cry during TV commercials... this was causing the strange light. Emily Brontesaurus came charging in and saved the (UV) day, just as the band version had saved the double fugue. You can judge for yourself. Here's a link: https://vimeo.com/131149864
4. UV (ultraviolet): no human has heard this one yet as it hasn't been performed. In 2016 or 17 I re-wrote "Light" for large orchestra. It is this phase of "Light" that I am transmitting today. I think that both the band and the orchestra versions show the individual lines of the piece in a way that was missing in the first (and withheld) organ version of the piece. Disclaimers: even though this piece was performed at M. I. T. I know nothing about the physics of light, also the story used in the IR spectrum (number 3 above) is completely fictional, and any similarity to any creature, living or extinct is purely accidental. I wish you all the best of luck in this project, whether or not you chose to include me in it.
Voicing self as reflected in "Echo and Mirage"
When I cry out, my being is reflected in a Echo... but it is a Mirage. It is an expression of me, but it is not me. I recorded it with soprano, Nancy King, and with me playing the accompaniment. Unfortunately only the middle section is available. I am sending it to you today. This piece is actually based on two poems by Christina Rossetti: "Echo" and "Mirage." Both poems are set in their entirety, but "Echo" is divided after the second line of the third verse. The poem is concluded after the "Mirage" section. The two poems equate the land of death with the land of dream. The listener is invited to come away to this place. Is death the annihilation of the self? The poem suggests that it is not... it is a transition to a place where imagination becomes alive. I agree with this concept. I am a composer living in Boston, MA, USA. My name is David Walther, and my website is davidedgarwalther.com by email is [email protected] and I wish you all the best of luck in this project, whether or not you chose to include me in it. Thanks, Dave.
1. Last Judgement: 3 movements; 20 minutes; soprano solo in the second movement is a setting of "Tethys" the Orphic Hymn translated by Thomas Taylor. The last movement was performed, as a double fugue for organ, by Dr. Sam Walter at Vorhees Chapel, Douglass College, Rutgers University, New Brunswick, NJ; and as a piece for concert band by The M. I. T. Concert Band under John Corely (see below).
1a. Symphony I for Large Orchestra: Last Judgement: 3/3/3/3 4/3/3/1 one percussion, timpani, soprano solo and strings. Unperformed in this version.
1b. Symphony I for Concert Band: Last Judgement: 3/3/3/3 4/3/3/1 4 saxophones (SATB) one or two percussion, timpani, soprano solo and strings.
"Light" is the last movement of Last Judgement for concert band as performed by John Corely and the M. I. T. Concert Band. This piece is also available for medium sized orchestra. This movement is a double fugue. It was shown as part of"Crazy Dinosaurs." Please see the video to the left.
Mr. Walther's Scaramouche et Pulcinella for Flute, Clarinet, Violin, 'Cello and Piano (Pierot Ensemble) is in preparation for premier in Nagakute, Japan, at Aichi University of The Arts. Clarinetist, Romualdo Barone will also perform Three Pieces for Clarinet on the same concert. The Chirkov Theater Company,
Dream Fugue: 2 minutes and 40 seconds; Fugue I: Subject from a dream; Fugue II: Inversion: Fugue III: Retrograde; Fugue IV: Retrograde Inversion. Included (down a whole step) in the Viola Concerto.
1a. Dream Fugue: string orchestra: Unperformed.
1b. Dream Fugue: string quintet: 2/1/1/1. Unperformed.
1c. Dream Fugue: piano: Unperformed.
2. . The Winds: 4 minute cycle of 4; 3 complete; Orphic Hymn, translated by Thomas Taylor. Unperformed\.To Pan: 6 minute cycle of 4 numbers, Orphic Hymn, trans. Th. Taylor. Unperformed.. The Winds: 4 minute cycle of 4; 3 complete; Orphic Hymn, translated by Thomas Taylor. Unperformed\.To Pan: 6 minute cycle of 4 numbers, Orphic Hymn, trans. Th. Taylor. Unperformed.
Chamber Music: 3 Pieces for Flute: 5 minutes; for Kristin Webb: 1. Eldood Eeoknay 2. variations. on a cup 3. untitled. Unperformed and withheld. Sonata for Solo Violin: 3 movements in 6 minutes. Unperformed. Plainchant: 10 minutes for 'cello. Unperformed and withheld. Twins: 5 minutes, for violin and piano. May be "Dance of Death." Invention: 3 minutes. Unperformed.
Keyboard Music: Momentary Pleasures: 4 minutes. Unperformed. The Twins: 5 minute. See version for Violin and Piano in "Chamber Music." Unperformed.Transformations: Piano version of Tarot Symphony #7 for string orchestra.; theme and eight variations in 10 minutes. Unperformed.
Vocal Music: 900 miles: 2 minutes; traditional folk song. Unperformed and withheld.Four Songs to Poems by Yeats: 5 minute cycle, uses material from "Three Portraits" below. All to poems by William Butler Yeats. Unperformed and withheld.
Three Valentine's Day Cards: baritone and bassoon; 6 minutes; Joyce.
Rouge et Noir: 5 minute cycle of 3 with bassoon and flute; Dickinson.The Book of Runes (Book I) The Folk Cycle: with 'cello; 10 minute cycle of 5 (two versions); Joyce. See unaccompanied version with 2 additional songs.
Choral Music: Celebration Chant: 1 minute; Carolyn Hall: text under copyright (uc). Used for The Winter Solstace Service at The First Unitarian Society of West Newton, MA. Has two original harmonizations. Healing Chant: Attributed to David Edgar Walther; text (uc?) may be by the composer, Carolyn Hall or Andrew Swan. Also exists with the ancient Guernsey text: "Har, Har, Hou, Hou" in old French & "Bagabi laca bachabe" found in "Le Miracle de Theophile" by Ruteboeuf.
. The Winds: 4 minute cycle of 4; 3 complete; Orphic Hymn, translated by Thomas Taylor. Unperformed\.To Pan: 6 minute cycle of 4 numbers, Orphic Hymn, trans. Th. Taylor. Unperformed. 1. Orphic Hymns to The Gd.ess: 3 minute cycle of 3; Orphic Hymn, translated by Thomas Taylor. Unperformed.
Credo: 3 minutes; unperformed.
Nyx: 2 part women's chorus, soprano solo; wood wind quintet, 2 trumpets, trombone, tuba, timpani & harp; 4 movements in 6 minutes. Orphic Hymn translated by Thomas Taylor. Unperformed and withheld.
Erevan Cantata: soprano solo, chorus, keyboard or orchestra (single winds, timpani & strings); 4 movements in 10 minutes; Armenian texts. Written for Father Minassian's "Erevan Chorus" at Holy Trinity Armenian Church in Cambridge, MA.. A 15 minute version uses texts by Archibald Lampman and "Har, Har, Hou, Hou" from "The Mask of the Witches" and "Andrew's Dream" found in "Music Theater." Both versions are unperformed and withheld.
Exequias Defuncti: (for the Burial of the Dead): 2 part chorus with soli; 5 movements in 8 minutes in Latin; Prudentius. Unperformed; version withheld.
Cha-cha for 3 Guitars: 4 minutes. Unperformed.
2. The Bunny Wars: Libretto and story by the composer. 15 minutes. SATB, and piano or orchestra 2/2/2/2 2/2/1/1. An anti-war comedy: to avoid World War III, two low ranking soldiers replace weapons with bunny ears. Orchestral version incomplete Unperformed.
Transformations: Theme and eight variations in 10 minutes. See version in "Keyboard Music." Unperformed. See Tarot Symphony #7. The Masque of The Red Death: 6 minutes; no harp. Based on Edgar Allan Poe. Read by The Juilliard Concert Orchestra under Thomas Ludwig, otherwise unperformed. The last page is missing.