For Flute, Clarinet (Bass Clarinet), Violin, Violoncello and Piano
Divergent Trajectories presents a struggle between two opposing manifestations of individualism. The first section of the work takes the form of a process fugue—a kind of operation-based musical texture in which each voice works independently to execute a prescribed series of tasks that, in the case of this work, ultimately transform the means by which pitch material is generated. In this system, individualism is based on the autonomy with which each member goes about discharging their assigned duties. It gradually becomes apparent, however, that this form of individualism is based on a fundamental flaw, as the freedom with which each member can express their individuality is eclipsed by the rigidity that the texture demands.
The latter section of the work presents an alternative approach, one that is marked by struggle, but ultimately arrives at collective triumph. Here, each instrument’s individual freedom is intrinsically connected to the expressive freedom of the ensemble as a whole. As the collective creative power of the ensemble grows, so too does the freedom of each instrument to express their individuality by staking their own unique path through the music. The result is a transcendent collectivism that, instead of suppressing individual freedom, sublates it.
- Composed Summer of 2017
- Premiere July 26, 2017 | Jewett Auditorium at Wellesley College, Wellesley, MA | Composers Conference Ensemble.
- Duration 10.5 minutes
- Recorded July, 2017 by the Composers Conference Ensemble in Wellesley, MA.
- Performers Barry Crawford: flute, Benjamin Fingland: clarinet (bass clarinet), Gabby Diaz: violin, Joshua Gordon: violoncello, Steve Beck: piano, James Baker: conductor
For Viola and Piano
For millennia, dreaming has occupied a prominent station within the human experience. For many people, this activity is thought of as a gateway to realms that are otherwise inaccessible, connecting us to hidden thoughts and desires, to deceased loved ones, or even to god. In this view, dreams reveal a more complete image of our true selves. Others conversely believe that dreams are simply random hallucinations caused by the brain's activity during sleep, particularly the phase of sleep known as "rapid eye movement."
In any case, dreaming is not something that I regularly do, or at least recall doing.The experiences associated with dreaming, that have throughout history had such significant impact on the human race, are not available to me. I am therefore particularly curious about the dreams of others, and it is in this spirit that I have composed De somniis. This work was inspired by a variety of sources, among which are the overture to Marcel Proust's Swann's Way, Salvador Dali's painting Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening, and Oliver Sacks' short story "The Dog Beneath the Skin."
- Composed Fall of 2016
- Premiere March 9, 2017 | James C. Olson Performing Arts Center, White Recital Hall, Kansas City | Musiqa Nova
- Duration 8.5 minutes
- Recorded Live in White Recital Hall
- Performers En-Ting Hsu: viola, Charles Tsui: piano
For Flute (Alto Flute), Clarinet (Bass Clarinet), Percussion, Harp, Piano, Violin, Viola and Violoncello
Commissioned by the AURA Contemporary Ensemble, Sonic City presents three cityscapes that come together to form two contrasting explorations: the first of urban life, and the second of death in—and potentially of—the city.
The street crawls undulant, inspired by Lola Ridge's 1918 poem "The Ghetto," evokes the vibrancy of cities. It focuses on the idea of the city as a single uniform entity, but that is made up of millions of creatures, each with their own individuality. I represent this concept musically through the use of Klangfarbenmelodie, a kind of musical pointillism. The second movement, New York Nocturne emerges quietly out of the first and presents a hazy, dreamlike view over the rooftops of early 20th-century Brooklyn.
The third cityscape, if not for this burning down..., addresses death and injustice in the city. It was inspired by a photo that I encountered while viewing coverage of the 2015 Baltimore Riots. The image shows a boarded-up window that had been marked by graffiti that reads, "If not for this burning down, what would've happened?" Like the graffiti artist, I too raise more questions than I am able to answer as I contemplate the role of death within developing urban societies.
- Composed Winter of 2015/16.
- Premiere April 19, 2016 | Moores Opera House, Houston | AURA
- Duration 14.5 minutes
- Recording Live at the Moores Opera House
- Performers Rebecca Poole: flute, Alexandra Doyle: clarinet, Allen Vinson: percussion, Cynthia Xiao: Harp, Jessica Myers: piano, Roberto Alonso Trillo: violin, Shelby Thompson: viola, Andrew Cavazos: violoncello, Alejandro Basulto: conductor
For Trumpet and Vibraphone
Conversations explores four unique encounters between trumpet and vibraphone: declamation, gossip, colloquy and chatter. In the piece, both performers are asked to demonstrate a diverse expressive palette, presenting moments of delicate intricacy, forcefulness, lyricism and jagged rhythmic activity. This work was commissioned by Da Camera of Houston's Young Artist Program for a concert featuring the work of composers living and working in the Houston area.
- Composed Winter of 2014
- Premiere January 31, 2015 | Houston Center for Photography, Houston | Allen Chen and Brandon Bell
- Duration 9 minutes
- Recorded Live at the Houston Center for Photography
- Performers Allen Chen: trumpet, Brandon Bell: vibraphone
For Flute, two Percussionists, Piano, Harp & Cello
The long, sustained lines and ever-shifting harmonies of Fluid draw the listener into a completely foreign sound world. Here, even time and pitch seem to melt into a continually flowing river of sound. The middle section presents an enchanting Debussyan gesture in the flute, but this moment of stability is short-lived as it dissolves into a sonic vapor.
- Composed Fall of 2014
- Premiere December 2, 2014 | Moores School of Music, Houston | Lindy
Thompson, Nicolas Diaz, Christopher Kimball, Bailey-Siamone Mason, Anna Waldron, and Kent Childress
- Duration: 10 minutes
- Recorded Live at the Moores School of Music
- Performers Lindy Thompson: flute, Nicolas Diaz: percussion
Christopher Kimball: percussion, Bailey-Siamone Mason: harp, Anna Waldron: piano, Kent Childress: cello
into memory (in memoriam Dmitri Shostakovich)
For String Quartet
Into Memory is a contemplative, stirring and, at points, violent essay for string quartet that pays homage to Dmitri Shostakovich, who composed fifteen works in the same medium. The piece balances Mr. Booker's affinity for rich harmonic palettes and contrapuntal writing with a more Shostakovian starkness. Into Memory is the winner of the 2014/15 Sarofim Composition Award and has been recognized by the Robert Avalon International Composers Competition as well as The Other Competition hosted by the University of Miami's Frost School of Music.
- Composed Spring of 2014
- Premiere April 27, 2014 | Moores School of Music, Houston | Jisu Shin,
Felix Alanis, Shelby Thompson, and Sonya Matoussova
- Duration: 11 minutes
- Recorded Live at the Moores School of Music
- Performers Jisu Shin: violin, Felix Alanis: violin, Shelby Thompson: viola, Sonya Matoussova: cello
For Flute, Viola and Piano
This trio, commissioned by the flute studio at the University of Denver's Lamont School of Music, was Jonathan Booker's first work to be performed for the public. It is comprised of an introduction followed by a theme that is heavily influenced by Maurice Ravel and five subsequent variations. It was premiered at the Robert and Judi Newman Center for the Performing Arts in Denver, Colorado in February of 2012.
- Composed Fall of 2011
- Premiere February 24, 2012 | Newman Center, Denver | Jennifer Slaughter, Nicole Christian, and Skylar Anderson
- Duration: 12 minutes
- Recorded Live at the Newman Center
- Performers Jennifer Slaughter: flute, Nicole Christian: viola, Skylar Anderson: piano