~~ please click on work title to read detailed program notes ~~
1. (2012) - 65.5 minutes
Nine of Marimbist, Peter Gillespie’s favourite works written specifically for Marimba and Piano along with arrangements by
the composer of a few of her other chamber works. Collection includes It’s About Time, Penny for Your Thoughts,
Arachnid, Catnip, Excursion, Razzle, Dazzle, Sleeves of Green, and Five Vignettes.
2. (2012) for Violoncello and Piano – 8.5 min
These two animated movements were written specially for Caroline Szram (vc) and Dr. Aleks Szram (piano) from London,
England. Both spirited movements are highly rhythmic and playful, although each has a moment of rest in the middle for
both performer and listener to catch ones’ breath.
3. (2011) for Marimba and Piano – 10.5 minutes
An energetic and rhythmic three movement work written for Peter Gillespie, marimbist. The composition highlights
rhythmic groupings of two and three which produce off-beat accents and unexpected changes of pulse.
4. (2011) for Marimba and Piano – 4 minutes
This single movement work written for Peter Gillespie, marimbist, utilizes the two whole tone scales and the different
intervals and triads which can be derived from them.
5. (2010) for Trombone and Piano– 5.5 minutes
Specially written for the musical talent of Dr. Jim Chilton, trombonist, each of the three movements highlights a certain
range and expressive melodic capability of the trombone which is supported, and sometimes challenged, by the carefully
constructed accompaniment of the piano.
6. (2009) – 5.5 minutes
Written for Dr. Jean Gillespie, these three movements explore the timbral and dynamic qualities of the French Horn while
highlighting the expressive melodic capability of the instrument.
7. (2009) for Clarinet, Violoncello, and Piano – 14 minutes
A three movement work composed for the Amici Chamber Ensemble from Toronto, Ontario. The composition is based on
the juxtaposition of the two alternate whole note collections.
8. (2008) for Solo Piano – 5.5 minutes
A companion piece to Razzle (2004) which further develops the earlier piece’s musical ideas producing a unique work which
would appropriately follow a performance of Razzle, yet can be presented independently.
9. (2008) – 4 and 3 minutes respectively
Two works commissioned by the Infinitus Trio of Vancouver, BC based on two Hymns which were provided for inspiration,
“I Surrender” and “Great is Thy Faithfulness.”
10. (2008) – 7.5 minutes
A collection of miniatures that surveys the expressive and coloristic capabilities of the piano.
11. (2007) for Solo Violoncello – 8 minutes
Seven short movements written for Caroline Szram, violoncello, that each explore a singular musical idea while exploiting
the unique timbral characteristics of the violoncello. The work is performed without a break between the movements.
12. (2006) for Flute, Clarinet in Bflat, French Horn, Two
Percussionists, Piano, Violin, Viola, Violoncello, and Contrabass – 14 minutes
Three movements that utilize the layering of melody, harmony, and rhythm producing distinct textures and musical
13. (2005) for Flute and Piano – 5 minutes
A commissioned work by the American flutist, Dr. Jessica Raposo, for inclusion in a concert being presented on
St. Patrick’s Day. In keeping with a theme of green she requested a work based on the traditional song "Greensleeves".
Performed by Dr. Jessica Raposo
14. (2004) for Solo Piano – 7 minutes
A rhythmic and energetic work built from a six note ostinato complete with offbeat accents, an ethereal middle section,
and exciting virtuosic passages.
Performed by Dr. Aleksander Szram
15. (2004) for Flute, Violin, Violoncello, French Horn, and Piano - 6 minutes
This work exploits continually changing relationships amongst the instruments within an animated texture where motivic
ideas are continually being passed from one instrument to the next.
16. (2004) Trio for Flute, Violoncello, and Piano – 6 minutes
Music inspired by the crazy antics of cats after exposure to catnip.
17. (2004) for Violoncello or Marimba and Piano – 10 minutes
Single movement work with three quasi-programmatic sections each associated with the life of a spider: building a web,
waiting for the fly, and celebrating the catch.
Performed by Caroline Szram, Violoncello and Yvonne Gillespie, Piano
18. (2004) for Soprano Saxophone, Violoncello, Piano, and Percussion – 6 minutes
Written for inclusion in the Sonic Boom 2004 Workshop held in Vancouver, B.C.
19. (2004) for Saxophone Quartet – 5 minutes
An offbeat and playful composition that explores the displacement and augmentation or diminution of motivic, rhythmic,
and melodic ideas.
Performed by UBC Saxophone Quartet
20. (2003) for String Quartet – 17 minutes
Three movements that explore the vast musical possibilities of the interval of a second.
21. (2003) for Flute and Piano – 6 minutes
Music that was inspired by the crazy antics of cats after exposure to catnip.
22. (2000) for Three Trombones and Piano – 9 minutes
A single movement work with quasi-programmatic musical references to the life of a cat.
23. (2000) for String Quartet – 14 minutes
Musical representations of three paintings by Edvard Munch; the first movement depicts “The Scream”, the second
“Melancholy”, and the third “The Dance of Life”.
24. (1999) for Violoncello Ensemble - 11 minutes
Single movement work with six separate violoncello parts inspired by the music that the wind makes as it passes through
25. (1998) for Two Marimbas – 6 minutes
An animated single movement work highlighting imitation within melody, harmony, and form.
26. (1997) for Nonet, Woodwind Quartet or Quintet – 15 minutes
Five short dances inspired by the uninhibited dancing of a young child. Each movement explores a different dance form
while highlighting rhythmic structures and harmonic/melodic freedom.
27. (1997) for Piano Quintet – 16 minutes
Three movements for string quartet and piano, each exploring the concept of perpetual variation.
Performed by the Composers’ Orchestra, Toronto
28. (1996) for String Quartet – 18 minutes
Four movements resulting from the exploration of harmony, melody, rhythm, and form utilizing traditional and
contemporary compositional techniques.
29. (1996) for Octet – 16 minutes
An octet for clarinet, bassoon, French horn, tuba, violin, violoncello, marimba, and piano consisting of three quasi-
programmatic movements each depicting a physical property of glass.
30. (1995) Trio for Clarinet, Violoncello, and Piano – 15 mins
An exploration of melodic and harmonic chromaticism composed in three movements.
31. (1995) for Nonet – 16 minutes
Five short dances for Nonet inspired by the uninhibited dancing of a young child. Each movement explores a different
dance form while highlighting rhythmic structures and harmonic/melodic freedom.
32. (1994) for Two Pianos – 15 minutes
Five abbreviated musical presentations each exploring a unique musical idea within a condensed time frame while
exploiting the extensive range and timbral possibilities of the piano.
33. (1995) for Spoken Voice, Marimba, Piano – 6 minutes
A very effective combination of spoken poetic voice and descriptive music utilizing the poetry of Peter Gillespie.
34. (1994) for Spoken Voice, Marimba, and Piano – 7 minutes
Another very effective combination of spoken poetic voice and descriptive music utilizing the poetry of Peter Gillespie.
35. Perpetuity (1993) for Flute and Piano – 9 minutes
36. Pulsation (1993) for Vibraphone, Percussion, and Piano – 12 minutes
37. YAP Concoction (1992) for Percussion Ensemble – 15 minutes
Co-written with Peter Gillespie, percussionist.
38. Quietude (1991) for Piano Solo – 8 minutes