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A Child's London with narration

(Haskell Small, pianist)

(Robert Aubry Davis, narrator)

London Bus, Primrose Hill Park, On Regent's Canal, Mrs. Orang-outang, Costumes at Victoria and Albert, Tact and Diplomacy, Roundabout

Eclogue (David Burge, pianist)

Eclogue (Blanca Uribe, pianist

Fixations (Blanca Uribe, pianist)

Bird in Space, Shadowings, Flashback

Mimesis (Richard Wilson, pianist)

Warblemusic, Owls, Grasshopper, Snail and Parakeet, Frog Chorus

Charades (Todd Crow, pianist)

Arabesque, Cantilena, Roulades, Toccata

Intercalations

(Blanca Uribe, pianist)

Interspace, Interplay, Interlacing, Interaction

Intercalations

(Margaret Mills, pianist)

[Intercalations] functions essentially as a piano sonata and encompasses a discursive, contrapuntal opening movement; a fleet, evanescent scherzo that calls for crossed hands and an insistent drumming on single notes; an introspective third movement, and a flashy, chiming finale. Mr. Wilson's idiom is highly chromatic with strong tonal underpinnings; ''Intercalations'' is a virtuosic and thoroughly attractive addition to the repertory. Tim Page, NY Times

Sour Flowers

(Richard Wilson, pianist)

Artemisia (March), Crocus (Nocturne), Elena Campana (Waltz). Herba Johannis (Benediction), Lautca Leporica (Tarantella), Petrocilium (Arabesque), Quinquefoil (Prelude), Rosemary (Valediction)


Three Short Pieces

(Richard Wilson, pianist)

Three Short Pieces

(Thomas Sauer, pianist)


Mnemonics (Richard Wilson, pianist)

Signs, Spaces, Touch

Disclosures: Allusive, Direct, Alarming

Having written a good deal of piano music over the years, I thought I should give my Disclosures one or two features not tried before. The first movement (“Allusive”) remains stubbornly in the higher register; the second (“Direct”) explores the lower; and the third (“Alarming”) makes quite a point of rushing from one area to the other. Chopin’s remarkable finale to his second sonata in Bb minor was in my mind when I decided that the two hands of my second movement would remain at the octave throughout. It is such a pleasure to have Margaret Mills, a Vassar music major, and a good friend, commission and give the premiere of this work.