Compositions

Dedication for String Quartet

Dennis Breier — Thu, 12 May 2011 07:10:57 PDT

Concerto For Violin-- For Mark Portolese

Daniel Vendt — Wed, 11 May 2011 14:50:02 PDT

Dance-- For Chris Davis

Daniel Vendt — Wed, 11 May 2011 14:50:00 PDT

Music for Clip #3

Daniel Vendt — Wed, 11 May 2011 14:49:58 PDT

Lost Horizons

Daniel Vendt — Wed, 11 May 2011 14:49:56 PDT

Two Settings: for Clarinet, Viola, and Piano

Daniel Vendt — Wed, 11 May 2011 14:49:54 PDT

Paper Due Today: Score for the Original Film

Daniel Vendt — Wed, 11 May 2011 14:49:53 PDT

Se tu mi lassi (If you leave me) For Choir

Katherine Spencer, '11 — Wed, 29 Sep 2010 06:55:43 PDT

Downtown Club Dreams (Honors)

Brian Baxter '07 — Tue, 22 Dec 2009 11:07:58 PST

Symphony for Strings and Percussion (Honors)

Eric Malmquist '07 — Fri, 18 Dec 2009 06:47:51 PST

String Quartet (Honors)

Luke Gullickson '07 — Thu, 17 Dec 2009 13:10:08 PST

I began my String Quartet in the summer of 2006 with the opening section, which flashes in a sort of montage between passages from the first three movements. The piece then grew into four ostensibly disparate movements that are linked through many references that are built into the musical structure.

At the Grave Beneath the Oak

Benjamin Johnson '07 — Thu, 17 Dec 2009 13:08:20 PST

Antihero

Daniel Vendt '05 — Thu, 17 Dec 2009 13:08:19 PST

Written and Directed by Amanda Gwyndhar Bratton Director of photography: Elizabeth Schroeder Starring: Christopher Ehresman, Timothy Shelton, Amanda Gwyndhar Bratton Set/costumes/makeup: Stephanie Koets, Amanda Gwyndhar Bratton Choreography by: Brittany Morgan Original music by: Daniel Vendt

The Letter

Benjamin Johnson '07 — Thu, 17 Dec 2009 13:08:18 PST

me vs. myself vs. I (Honors)

Dan Witte '00 — Thu, 17 Dec 2009 13:08:17 PST

Sigmund Freud, father of modern day psychology had a theory that the mind was divided into three sections. Two of these sections were subconscious, and the other was our conscience. He divided the subconscious into the Super Ego and the Id, and he labeled our conscience the Ego. The Super Ego represents our closed-minded pessimistic side often instilled upon us by our parents and society. This is not necessarily a bad thing; rather it is what makes us do things in a proper, rational, and secure fashion. The Id is our primal side. It is often the drive behind our sexual urges. This is a bad thing if not controlled in a proper (hence the Super Ego) fashion, but it is often the side that encourages us to take that leap of faith every once in a while. The Ego can be looked at as our balance point. It weighs the influence of the Super Ego and the Id before making a decision. Since life does not turn out perfectly, neither does this piece. In order to represent the unpredictability of life I have written three different codas. The first one represents when we give into our primal and sexual urges and ignore our rational side. The second coda represents when we give into our rational side and don't bother taking that adventurous step that needs to be taken once in a while. The third coda represents when we are able to balance our rationale with our primal urges and come to a harmonious conclusion. The choice of the coda to be played can be up to the conductor, the ensemble, or the audience, as long as the choice of coda is determined before the performance is started.

Four Preludes for Piano

Luke Gullickson '07 — Thu, 17 Dec 2009 13:03:14 PST

Piano Concerto "Pacific"

Luke Gullickson '07 — Thu, 17 Dec 2009 13:03:13 PST

"Pacific" is built in three main sections. Each of the main sections has a signature theme....The themes are placed throughout to suggest a journey from the Midwest to the Pacific: the geographical changes as well as the personal reflections that accompany travel. The epigraph, from historian Frederick Jackson Turner, is a question regarding the fale of American democratic values after the closing of the frontier, a question that we have yet to answer.

Seven Piano Pieces

Eric Malmquist '07 — Thu, 17 Dec 2009 12:55:30 PST

Solo for Vibraphone

Eric Malmquist '07 — Thu, 17 Dec 2009 12:55:29 PST

What a Beast Art Thou!

Eric Malmquist '07 — Thu, 17 Dec 2009 12:48:52 PST

"What a Beast Art Thou! - Three Shakespeare Songs," for bass voice and piano, explores the depths of the darker side of human nature. Using texts from Titus Andronicus Act 5, Timon of Athens Act 4, and Titus Andronicus Act 5 respectively, the three songs intend to express emotions of hate and anger, while conveying the drama unfolding during each particular scene. "What a Beast Art Thou!" was commissioned by William Roberts III and premiered by him in December 2005. Duration: approximately 10 minutes.