{"id":12,"date":"2022-10-20T16:32:00","date_gmt":"2022-10-20T23:32:00","guid":{"rendered":"https:\/\/michaeljohanson.com\/?page_id=12"},"modified":"2025-03-03T23:48:01","modified_gmt":"2025-03-04T06:48:01","slug":"compositions","status":"publish","type":"page","link":"https:\/\/michaeljohanson.com\/?page_id=12","title":{"rendered":"Selected Compositions"},"content":{"rendered":"

we could rise up rooted, like trees<\/strong><\/em>
\nfor Wind Quintet (2023)
\nlisten<\/a><\/p>\n

Fanfare for Robin
\n<\/em><\/strong>for Brass Quintet (2022)
\nlisten<\/a><\/p>\n

As I Grew Older
\n<\/em><\/strong>for Chamber Orchestra and SATB Chorus (2022)<\/p>\n

Catalyst<\/em>
\n<\/strong>for Two Pianos (2021)
\nhttps:\/\/youtu.be\/tCcZyMIl4sM<\/a>
\nlisten<\/a><\/p>\n

Love Poem<\/em>
\n<\/strong>for Guitar and Flute (2019)<\/p>\n

In Memoriam J\u00f3hann J\u00f3hannsson<\/i><\/em>
\n<\/strong>for Piano (2018)<\/p>\n

Healing<\/i> for left hand piano<\/em>
\n<\/strong>for left hand piano (2018)<\/p>\n

Song of Thanks<\/em>
\n<\/strong>for left hand piano (2018)<\/p>\n

Fantasy on an Allemande by Bach<\/em>
\n<\/strong>for Solo Cello (2017, rev. 2018)
\nlisten<\/a><\/p>\n

flowering like the stars, and measureless as a kiss<\/em>
\n<\/strong>for Violin and Viola (2017)<\/p>\n

Three Moods for Viola and Piano<\/em>
\n<\/strong>for Viola and Piano (2017)<\/p>\n

Eternal Gardens<\/em>
\n<\/strong>for Solo Piano (2015)
\nlisten<\/a><\/p>\n

Soundscapes<\/strong><\/em> (2015)
\nfor Alto Saxophone and Bassoon<\/p>\n

Vita <\/strong><\/em>(2014)
\nfor Soprano and Piano<\/p>\n

Fanfares and Elegies<\/strong><\/em> (2013)
\nfor twelve Horns
\ncommissioned by the Northwest Horn Orchestra<\/p>\n

Grooves and Diversions<\/strong><\/em> (2013)
\nfor Percussion Quartet
\ncommissioned by the Portland Percussion Group
\nlisten to Grooves and Diversions (2013)<\/a><\/p>\n

Contemplations <\/strong><\/em>(2012)
\n<\/strong>for Alto Saxophone and Cello (2012)<\/p>\n

As I Grew Older<\/em> <\/strong>(2012)
\nfor Full Chorus<\/p>\n

Song of the Son<\/em> <\/strong>(2012)
\nfor Male Chorus<\/p>\n

Soliloquy<\/strong><\/em> (2012)
\nfor solo Oboe; commissioned by Mitch Iimori<\/p>\n

Evocations <\/em><\/strong>(2011)
\n<\/strong>for solo Horn<\/p>\n

Contrapuntal Etude No. 1
\n<\/strong>for solo Piano (2011)<\/p>\n

Ozymandias <\/em><\/strong>(2010)
\n<\/em><\/strong>for Baritone Voice and Piano (setting of a poem by Percy Bysshe Shelley) (2010)<\/p>\n

Earth Dweller <\/em><\/strong>(2009)<\/em>
\n<\/em><\/strong>for Full Chorus (setting of William Stafford) (2009)
\nlisten\/watch video<\/em><\/a><\/p>\n

Kent\u2019s Song <\/em><\/strong>(2009)
\n<\/em><\/strong>for Medium Voice, Piano and Percussion
\nmusic written to accompany a video tribute to Kent Swanson, Jr. (2009)<\/p>\n

Summer Rhapsody <\/strong><\/em>(2008)
\n<\/strong><\/em>for Brass Quintet<\/p>\n

Two Songs of Baudelaire <\/em><\/strong>(2008)
\n<\/em><\/strong>for Soprano Voice and Piano, revised version<\/p>\n

Gravitations<\/strong><\/em> (1995\/2008)
\nfor Bb Clarinet
\nlisten<\/em><\/a><\/p>\n

Gravitations explores various aspects of musical motion, especially the idea of moving to and away from central focal points. Although the application of this idea as it relates to the element of pitch is perhaps one of the more obvious manifestations of this concept, the idea is applied to other musical parameters as well.<\/em><\/p>\n

In addition to pitch, the work explores this idea in the contexts of register, rates of motion, rhythm\/meter (pulsed versus non-pulsed musical gestures), the use of long, sustained tones versus angular, athletic passages, conjunct versus disjunct motion, and moods that vary from serene and introspective to angular and strident, playful and athletic. The dramatic shape of the work is largely determined by the various ways in which these contrasting elements interact.<\/em><\/p>\n

Approximate duration: 7\u201930\u201d<\/p>\n

Northwest Travels<\/strong><\/em> (2006)
\nfor Horn in F, Violin, and Piano
\n Northwest Travels could be described as a sort of \u201cmusical travelogue\u201d inspired \u2028by the long drive I made, along with my wife and son, from Bloomington, Indiana \u2028to Portland, Oregon in the late summer of 2004 in preparation for our move to \u2028the west coast. To some extent, the work represents an attempt to capture some \u2028of the many feelings associated with this particular trip as well as the\u2028 experience of being in transit on the way to a new, exciting destination.<\/em>
\nlisten to 1st movement
\n<\/em><\/a>listen to 2nd movement<\/a>
\nlisten to 3rd movement<\/a>
\nlisten to 4th movement<\/a><\/em><\/p>\n

Two Songs of Baudelaire <\/strong><\/em>(2005)
\n<\/em>for Soprano Voice and Piano<\/p>\n

I. Brumes et Pluies<\/strong>
\nlisten<\/em><\/a><\/p>\n

II. Le Vin des amants<\/strong>
\nlisten<\/em><\/a><\/p>\n

The Garden of Earthly Delights<\/strong> (2004)
\nfor Orchestra
\nRead more…
\nI. Prelude<\/a>
\nII. The Garden<\/a><\/p>\n

Nocturne <\/strong><\/em>(2004)
\nfor Horn in F and Piano
\nNocturne was written for hornist Brian Kilp and pianist Martha Krasnican. It \u2028was inspired by the experience of putting my son to bed at night, a time of\u2028 calm for both of us in which the cares of the day are set aside. Although the\u2028 overall mood of the work is one of serenity, the piece also explores various \u2028other moods suggested to me through reflecting on the ideas of the end of the \u2028day and the arrival of night.<\/em>
\nlisten<\/em><\/a><\/p>\n

Toccata<\/strong><\/em> (2003)
\nfor Alto Saxophone and Piano
\nlisten<\/em><\/a><\/p>\n

Memento<\/strong><\/em> (2003)
\nfor Alto Saxophone and Organ
\nlisten<\/a><\/em><\/p>\n

And Peace at the Last<\/strong><\/em> (2002)
\nfor Mixed Chorus<\/p>\n

Song for Mallory<\/strong><\/em> (2000)
\nfor solo Piano<\/p>\n

The Unwavering Light<\/strong><\/em> (1999)
\nfor 16 Voices
\nlisten<\/em><\/a><\/p>\n

Rhapsody<\/strong><\/em> (1998)
\nfor solo piano
\nlisten<\/em><\/a><\/p>\n

Postlude <\/strong><\/em>(1998)
\nfor solo piano<\/p>\n

Untamed Waters<\/strong><\/em> (1996)
\nfor 17 players
\nlisten<\/em><\/a><\/p>\n

Tremors from Time\u2019s Abyss <\/strong><\/em>(1995)
\nfor Flute\/Piccolo, Clarinet, Alto Saxophone, Trumpet, Trombone, Violin, Cello, Contrabass, Piano and 2 Percussionists<\/p>\n

Interactions<\/strong><\/em> (1995)
\nfor Flute, Clarinet, Vibraphone, Cello, Harp, and Percussion<\/p>\n

Snowfall<\/strong><\/em> (1994)
\nfor Soprano solo, Flute\/Alto Flute, Cello, Harp, and Percussion<\/p>\n

Variations<\/strong><\/em> (1993)
\nfor Piano solo<\/p>\n

Variations explores the musical potential of a motivic idea presented in the\u2028 opening of the work.\u00a0 Each variation focuses on specific manipulative processes \u2028which feature parameters such as texture, rhythm, dynamics, register, and \u2028figuration.\u00a0 Variations was written for and is dedicated to\u2028 Lourdes-Diaz-Johanson<\/em><\/p>\n

Re-emergences<\/strong><\/em> (1991)
\nfor Flute, Clarinet, Violin, Cello, Piano, and 2 Percussionists<\/p>\n

Dynamo<\/strong><\/em> (1991)
\nfor Tenor Trombone solo<\/p>\n

Epiphanies<\/strong><\/em> (1990)
\nfor Soprano solo, Fl, Cl, Bssn, Hn in F, Vln, Vla, Vc, and Cb<\/p>\n

Introspections<\/strong> (1988)
\nfor Alto Saxophone solo<\/p>\n

A Whisper from Long Ago <\/strong>(1988)
\nfor Chamber Chorus and Piano
\ntext by Dag Hammarskjold<\/p>\n

La Nuit Finale<\/strong><\/em> (1986)
\nfor Alto Saxophone and Electronic Mixer<\/p>\n","protected":false},"excerpt":{"rendered":"

we could rise up rooted, like trees for Wind Quintet (2023) listen Fanfare for Robin for Brass Quintet (2022) listen As I Grew Older for Chamber Orchestra and SATB Chorus (2022) Catalyst for Two Pianos (2021) https:\/\/youtu.be\/tCcZyMIl4sM listen Love Poem for Guitar and Flute (2019) In Memoriam J\u00f3hann J\u00f3hannsson for Piano (2018) Healing for left […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page_full.php","meta":[],"_links":{"self":[{"href":"https:\/\/michaeljohanson.com\/index.php?rest_route=\/wp\/v2\/pages\/12"}],"collection":[{"href":"https:\/\/michaeljohanson.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/michaeljohanson.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/michaeljohanson.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/michaeljohanson.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=12"}],"version-history":[{"count":37,"href":"https:\/\/michaeljohanson.com\/index.php?rest_route=\/wp\/v2\/pages\/12\/revisions"}],"predecessor-version":[{"id":204,"href":"https:\/\/michaeljohanson.com\/index.php?rest_route=\/wp\/v2\/pages\/12\/revisions\/204"}],"wp:attachment":[{"href":"https:\/\/michaeljohanson.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=12"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}