Chamber
Most of the following works are self-published and available by contacting the composer.
Duration – 3’
Instrumentation -
4-tpt, 4-hn, 4-tb, 1-bhn, 1-tba, 1-optl timp, 3-optl perc
A Christmas Fanfare - Program Notes
There are three versions of the fanfare, one for symphony orchestra, one for band, and one for Brass Choir. The orchestral version is written to either segue into Leroy Anderson's A Christmas Festival or to stand on its own.
This work has enjoyed much success since it was written in 1992 to open the "Yuletide Celebration" concerts for the Indianapolis Symphony.
Duration – 11’
Instrumentation -
8-tb, 4-btb
Clouds of the Cosmos - Program Notes
"Clouds of the Cosmos" was written in 2019 to celebrate the 48th International Trombone Conference at Ball State University, hosted by Chris Van Hof. This work was commissioned by Dr. Chris van Hof, Professor of Trombone at Ball State University along with consortium members Mark Babbitt of Illinois State University; Jim Bertucci from the Indianapolis Trombone Choir; Justin Cook, at the University of Central Arkansas; Stephen Ivany of East Carolina University; Indiana University Jacobs School of Music Trombone Faculty; Robert Lindahl, from Central Michigan University; Jeremy Marks at the University of North Carolina-Charlotte; James Nova from Duquesne University; Bradley Palmer at Columbus State University; Sarah Paradis from Boise State University; Austin Richardson, Jeff and Susan Smithburn; Zsolt Szabo, at Western Carolina University; and Steven Zugelder from Nazareth College.
This work is written for 12 trombones and is a programmatic work depicting some of the more famous Nebulae in the Universe. The composition has an accompanying video which is optional showing stunning pictures of the various Nebula depicted in this piece. The optional video is written in PowerPoint by Brannon Fells and is intended to be displayed above the trombone choir during a performance. This work comes with its own film cue score to synchronize this optional video to the music.
The first movement, entitled "The Pillars of Creation," opens quietly reflecting the wonder and awe of this cosmic cloud in the loneliness of space. This most famous Nebula is part of the larger Eagle Nebula in the Serpens Constellation, which is approximately 7,000 light years from Earth. All Nebulae are clouds of hydrogen and other elements that eventually condense into new stars under the force of gravity. They are, in fact, stellar nurseries. The beginning of this movement refers to the vagueness of these clouds and emotes the wonder of what they will become in time and their incredible visual beauty as seen by the Hubble telescope. As the movement continues, there is a musical reference to the forming of new stars the 'Pillars of Creation', heard as clusters of sound. The new stars are created in Nebulae, exist, and then die usually in a supernova, creating yet another nebula cloud where the process begins again. Hence, the music returns to the mystical music heard at the beginning of this work to end this movement.
The second movement is entitled "The Eagle Nebula" which, as earlier mentioned, is the nebula that surrounds "The Pillars of Creation." This larger Nebula is aptly named since its form looks like an eagle in the Cosmos from Earth. The music in this movement is bold and fast, representing the traits of this bird on Earth now flying through the Cosmos. It is written in a basic rondo form.
The third movement is entitled "The Helix Nebula, Eye of God." This Nebula was so named because it looks like a big eye in the sky. The opening of this movement features loud chordal music portraying the magnitude of the Nebula and its assigned nickname. The middle section is hymn-like in nature, and the composer borrowed this melody from the second movement of his Trombone Concerto published by Hal Leonard Music. It is religious in nature. The movement is a basic ABA form.
The final movement to this work is entitled "Crab Nebula, Supernova Remnant." This nebula is also a very famous Cosmic Cloud in the Universe. It is approximately 6.5 light years from Earth and is the result of a star exploding in a supernova, hence the chaotic opening. This opening bombast transitions into a more serene musical setting that is meant to represent the aftermath of such an event, which is the clouds of cosmic dust that we call Nebulae. As the universe recycles itself in its rebirth, so does the music morph into earlier stated music from this work. The listener will hear the earlier religious hymn of the 3rd movement going into the rhythmic music of a star-forming from the first movement which climaxes in a coda section that includes many parts of this piece coming together in an exciting ending and rebirth.
Clouds of the Cosmos
Concerto for Trombone
Duration – 20’
Instrumentation - 1-tb, 1-pno
Score – order from Hal Leonard - HL00138277
Concerto for Trombone - Program Notes
The Trombone Concerto was written in the summer of 2013 for a joint commission of ten bands. The performance at DePauw University on October 15, 2013 was the premiere of this work in piano reduction, performed by James Beckel on trombone and Greg Martin on piano. The orchestral premiere occurred on April 5th of 2014 with the Gulf Coast Symphony conducted by John Strickler. The trombone soloist was Joe Alessi.
The work is composed in three movements and the first movement begins with a long tutti introduction marked Moderato maestoso. The opening theme, heard in the trombone at the Andante misterioso, in the first movement, presents a conflict between the major and minor third. This haunting motif is heard throughout the work and is a unifying theme melodically and harmonically. In this first movement, after the opening Andante misterioso, a rondo-like form continues in a tempo marked Allegro moderato.
While the standard concerto form is made up of three movements, in this concerto, the second movement borrows from the symphonic four-movement form, combining a slow, reflective Andante section with a joyful, waltz-like Allegretto. These two sections are through-composed, acting as one movement. The ending of this movement uses elements from both sections in its conclusion.
The third movement is the most intense of the three, continuing the on-going conflict between major and minor tonality. The haunting opening trombone motif from the first movement returns in the middle of this third movement, as if to ask for sanity in a chaotic world. This is followed quickly with a Presto that races to a climactic ending.
This work is less programmatic than most of the composer's body of work. Although the concerto is based on personal reflections and introspections throughout this work, the composer, at a more mature age, is looking for answers to life's questions that most people have regarding their existence and the meaning of life. With age comes only the realization that he has more questions than answers to these great religious and philosophical mysteries. The composer decides in his own mind that mankind does have free will, but firmly believes that the consequences of man's free will can also lead to destinies that are unavoidable. This is the programmatic basis for the 3rd movement. The composer further believes that we are capable of being good or bad in the choices that we make throughout our lives; hence, the juxtaposition of the major and minor third throughout this work. In one regard, this work represents the conflict between good and evil in the real world, religiously and philosophically. In the composer's mind the opening of the second movement is religious in nature and is a search for truth in the world. The scherzo that follows in this second movement loosely reflects the composer's feelings regarding the celebration of life. But the opening Andante theme, now heard in the trombone, returns at the end of this movement, against the celebrative theme from the scherzo, now present with major and minor keys being concurrent. The movement ends with questions unanswered.
In essence, there is a subtext to each movement. The first movement could be subtitled "More questions than answers." The second movement Adagio could be titled "The search for truth." The waltz component of this movement would be entitled "The celebration of life," and the last movement could be subtitled "Unavoidable consequences."
This concerto is available for band and orchestra accompaniment as well as the piano reduction.
Comments from Performers -
Joe Alessi (Principal Trombonist with the New York Philharmonic):
"I had the greatest time performing James Beckel's Concerto for Trombone. Being that it was composed by an accomplished trombonist, all the passages are written with the instrument in mind, allowing the trombonist to play with ease. Not only is this piece fun to play, it exploits the beautiful legato singing style that all trombonists crave. The piece is a crowd pleaser and the melodies are memorable. I highly recommend this wonderful concerto to all trombonists!"
Carl Lenthe (Professor of Trombone at Jacobs School of Music, I.U.):
"James Beckel's new trombone concerto is a major work of symphonic dimensions and depth, and showcases the solo trombone very effectively. I am thrilled and honored to play it."
Bill Mathis (Professor of Trombone at Bowling Green State University):
"It was a great pleasure to have the opportunity to give the first performance of James Beckel's Trombone Concerto with Wind Band Accompaniment on April 29, 2014 with the Detroit Symphony Civic Youth Wind Ensemble under the direction of Kenneth Thompson. Beckel's Concerto is a beautiful, expansive, and dramatic work. The music lies so well on the horn, it is obvious that this is a piece written for trombonists by a trombonist. It is a challenging work, to be sure, but quite accessible for advanced college students and professional trombonists."
Duration – 14’30”
Instrumentation - 1-tba, 3-perc
Concerto for Tuba and Percussion - Program Notes
“Concerto for Tuba and Percussion” was commissioned by and dedicated to Percussion Plus, Ensemble in Residence at DePauw University, Dr. Amy Lynn Barber, founder and Director. This three-movement work creates different modes for each movement.
The first movement is loosely based on a Sonata Allegro form with the opening tuba theme setting the stage for this light-hearted first movement. The jovial A theme in mostly 6/8 time is followed by a more reflective B theme in 4/4 time. A transitional dialogue between percussion and the tuba takes us into the development section in 12/8 time, which initially features the percussion section. The tuba finally re-enters with the lighthearted variation of the A theme. In the recapitulation, the A theme is stated briefly before the B theme reappears now being played by the Crotales (Bells) in an almost haunting setting that prepares the listener for the more somber 2nd movement.
The second movement could almost be thought of as a lament. The movement opens in C minor but moves quickly to F minor for the statement of the first of two main melodies in this middle movement. This first melody is heard on the vibraphone. The second theme immediately follows in the solo tuba. The construction of this movement is based on a theme and variations format with each variation growing in intensity to the middle of the movement based on the two opening melodies. After a musical climax in the middle of this movement, the work becomes more introspective. The work ultimately closes in C minor with a haunting restatement of the second theme played by the marimba in dialogue with a somber counter theme heard on the vibraphone.
The third movement is by far the most demanding movement for the tuba. The dramatic opening statement in the tuba sets the stage for an impressive cadenza for the tuba. This theme and cadenza are built on a synthetic scale of half and whole steps that dominate this final movement. The half-step interval that is often heard in the opening cadenza is meant to be powerfully poignant and intense. Following this tuba cadenza, the piece goes into a brisk Rondo with the primary theme being derived from the material heard in the tuba cadenza. The alternate themes that interplay with this primary rondo theme are derived from melodies heard in the previous movements of this work. The first contrasting theme is from the counter theme heard in the closing of the second movement of this concerto. The primary theme then returns and is followed by a more lighthearted theme from the first movement. The third return of the primary melody in this movement is accompanied by a driving dotted eighth, sixteenth rhythm also from the first movement that adds intensity to the primary theme. With the addition of the unrelenting driving rhythm of the snare drum, the work concludes with an exciting final flurry of technique from the tuba, restating the main theme of the opening cadenza to this movement.
Instrumentation - 1-tba, 3-perc
Concerto for Tuba and Percussion - Program Notes
“Concerto for Tuba and Percussion” was commissioned by and dedicated to Percussion Plus, Ensemble in Residence at DePauw University, Dr. Amy Lynn Barber, founder and Director. This three-movement work creates different modes for each movement.
The first movement is loosely based on a Sonata Allegro form with the opening tuba theme setting the stage for this light-hearted first movement. The jovial A theme in mostly 6/8 time is followed by a more reflective B theme in 4/4 time. A transitional dialogue between percussion and the tuba takes us into the development section in 12/8 time, which initially features the percussion section. The tuba finally re-enters with the lighthearted variation of the A theme. In the recapitulation, the A theme is stated briefly before the B theme reappears now being played by the Crotales (Bells) in an almost haunting setting that prepares the listener for the more somber 2nd movement.
The second movement could almost be thought of as a lament. The movement opens in C minor but moves quickly to F minor for the statement of the first of two main melodies in this middle movement. This first melody is heard on the vibraphone. The second theme immediately follows in the solo tuba. The construction of this movement is based on a theme and variations format with each variation growing in intensity to the middle of the movement based on the two opening melodies. After a musical climax in the middle of this movement, the work becomes more introspective. The work ultimately closes in C minor with a haunting restatement of the second theme played by the marimba in dialogue with a somber counter theme heard on the vibraphone.
The third movement is by far the most demanding movement for the tuba. The dramatic opening statement in the tuba sets the stage for an impressive cadenza for the tuba. This theme and cadenza are built on a synthetic scale of half and whole steps that dominate this final movement. The half-step interval that is often heard in the opening cadenza is meant to be powerfully poignant and intense. Following this tuba cadenza, the piece goes into a brisk Rondo with the primary theme being derived from the material heard in the tuba cadenza. The alternate themes that interplay with this primary rondo theme are derived from melodies heard in the previous movements of this work. The first contrasting theme is from the counter theme heard in the closing of the second movement of this concerto. The primary theme then returns and is followed by a more lighthearted theme from the first movement. The third return of the primary melody in this movement is accompanied by a driving dotted eighth, sixteenth rhythm also from the first movement that adds intensity to the primary theme. With the addition of the unrelenting driving rhythm of the snare drum, the work concludes with an exciting final flurry of technique from the tuba, restating the main theme of the opening cadenza to this movement.
Concerto for Tuba and Percussion
Dialogues
Duration – 16’
Instrumentation -
1-cl, 1-vn, 1-db*, 1-pno, 1-perc
vc may be substituted for db
Dialogues - Program Notes
Dialogues for Clarinet, Violin, Piano, Bass, & Percussion was commissioned by the Ronen Chamber Ensemble, Director and Clarinetist, David Bellman, with added support from the International Violin Competition of Indianapolis and the Indiana Arts Commission.
The work was premiered by the Ronen Ensemble on April 23, 2013, at the Frank and Katrina Basile Theater of the Eugene and Marilyn Glick Indiana History Center in Indianapolis, Indiana. The performers included International Violin Competition winner Svetlin Roussev on violin along with Indianapolis Symphony members David Bellman on Clarinet, Bassist Ju-Fang Liu, and Percussionist Jack Brennan joined by pianist Chih-Yi Chen, who is the official pianist for the Indiana University Violin Virtuosi.
This four-movement work is meant to be a musical conversation equally shared by all five participants. The entire work was dramatically affected by local events occurring during its creation from the spring of 2012 to the fall of the same year. The Indianapolis Symphony faced difficult decisions as the orchestra musicians and management dealt with a financial crisis during contract negotiations. I have found that listeners often appreciate understanding the composer's thoughts behind their compositions; so, I decided to subtitle each movement along with the following descriptions.
The first movement is marked Vivace with a subtitle of "A sense of urgency "which reflects the shock that musicians experienced as they were initially informed of the severe cuts that the symphony board had proposed. Most musicians were unaware of the full extent of the financial status of their orchestra. The second movement is marked Andante - "End of an Era." As many orchestras around the country were facing similar constraints in the summer of 2012, many musicians began questioning the future of their beloved craft. The third movement is marked Moderato with the subtitle "Can't we agree to disagree?" Obviously, the philosophical differences between businesspeople interested in balancing the budget versus musicians that wanted to protect their art form led to many tough conversations. The final movement is marked Presto subtitled "Homage to Music." This movement is meant to celebrate all that the arts bring to our society. Something that this composer feels should not be lost. Hopefully, current and future generations will continue to fight to keep music alive and well in their cultures. Music is a beautiful language that speaks to us in ways that words cannot. We must all work diligently to preserve it.
In that vein, I would like to dedicate this work to Robert H. and Ina M. Mohlman, enthusiastic music lovers and supporters of the arts in Indianapolis.
Duration – 16’
Instrumentation – 1-fl, 1-tb
Listen – Duprass CD produced by www.bluegriffin.com
Watch and listen – https://youtu.be/v4IRAuZJa-o?feature=shared
Score and parts – available upon request from composer.
Four Vignettes - Program Notes
"Four Vignettes for Flute and Trombone" was written in the spring of 2020. The work was commissioned by Philip and Shelley Martinson with support from Southwestern Oklahoma State University. The piece is written in four separate movements and is a multifunctional work. The movements can be played separately for specific occasions. The second movement, 'A Prayer for Peace,' would certainly stand alone for a church service. The third movement, 'So Cool,' could well be used separately as an encore for any program. The last movement, 'Pan and Syrinx,' could be used in a children's concert. These movements can be mixed and matched as the performers choose. If a standard three movement concerto form is preferred, the soloists could well choose to perform Movements 1, 2, & 4 with the possibility of the 3rd movement being played as an encore, etc. This work also can be performed with bassoon or French horn playing the trombone part. When using the bassoon or French horn, all glisses should be performed as slurs. Ideally, the trombonist should use a trombone with an F attachment to perform this work. The titles of each movement are self-explanatory, but the final movement is programmatic and is described as follows:
The fourth vignette, 'Pan and Syrinx,' of this four-movement work is programmatic in nature and describes the famous Greek Mythology of Pan and Syrinx. The Greek myth talks about a half man, half goat creature called Pan. He was the son of Hermes and lived in the countryside of Arkadia. He was a light-hearted person who loved to party with dance and music. In fact, the character Peter Pan is derived from this Greek Mythology. Pan was infatuated by the woodland nymphs, but they were horrified by his beastly appearance. Syrinx was such a woodland nymph. She was the Nymph of the River Ladon in Arkadia.
This fourth movement begins with Pan trying to attract Syrinx with his horn calls heard in the beginning of this movement by the trombone who represents Pan. Syrinx is portrayed in this story by the flute. These calls are answered by Syrinx, but when she gets close enough to Pan to see his beast-like features she flees. The music of the spirito tempo at letter HH represents the beginning of this chase. Pan pursues Syrinx in hopes of winning her over, but this only adds to Syrinx's concerns. Syrinx's increased panic can be heard at letter UU. She finally gets to the river Ladon but is trapped, so she hides in the river reeds hoping to evade the pursuing Pan. This slightly slower music portrays her hiding from Pan. As Pan gets closer to finding her, she prays to Zeus to help her. When Pan finally discovers Syrinx, he rushes toward her to embrace the nymph. But in that very moment of embrace, Zeus grants Syrinx her wish and turns her into a river reed. Pan is heartbroken at his loss and sings a tragic, andante solo aria, but as he laments his loss of Syrinx he hears a beautiful song created by the river wind blowing across the reed. Pan realizes that he can reincarnate his lost love into a pan-flute. The andante misterioso music magically describes this transformation that allows Pan and Syrinx to be together through the ages. The allegro theme is also now transformed. This fast-moving melody in the flute, originally portraying Syrinx's flee from Pan, is now a more cheerful tune representing the joy of Pan and Syrinx's musical, light-hearted union.
Four Vignettes for Flute and Trombone
Freedom's Hope
Duration – 4’48”
Instrumentation – 2-tpt, 1-hn, 1-tb, 1-tba, 1-optl perc
Freedom's Hope - Program Notes
This piece is for brass quintet and was commissioned by the Keynote Brass, who recorded the work on their CD entitled "Reflections", released in 1996. A copy of the CD, filled with Indiana-based compositions and arrangements for brass, is available by contacting Dan Golando at golandod@sbcglobal.net.
It is a lively, uplifting, and fun piece to play and would be a great addition to any brass chamber concert.
The piece opens with a quiet theme first stated in trombone, representing the concept of freedom in its infant stage. As the idea grows, so does the music, until the full ramifications of its concept are reflected in a fanfare at the close of the introduction. The allegro section starts with the “A theme” derived from the opening fanfare. This theme, played by the trumpets, is jubilant in nature and reflects the joy of hope that freedom can bring. The “B theme” of this allegro section is introduced by the horn and is derived from the initial trombone melody. It is meant to pay homage to those who have made great sacrifices to allow freedom to exist. This hymn melody, first stated in the trombone, grows in intensity with the entrance of the first trumpet. The Hymn of Thanks becomes Celebration of Joy as the tuba solo turns this work into a Dance of Freedom. The “A theme” eventually returns, leading us to the coda where the fanfare nature of the opening is restated accompanied by chimes ringing with excitement until the close of the work.
Duration – 18’
Instrumentation -
Solo horn, 1-pno
Listen and watch – The Glass Bead Game : James Beckel by Tanupol Chomsamut - YouTube
Score – purchase from Hal Leonard, HL841607
Glass Bead Game - Program Notes
"The Glass Bead Game" is a Horn Concerto loosely based on the Herman Hesse novel of the same title. In the first movement, two main themes dominate. The work opens with a bi-tonal motif based in Eb Major and A Major. This musical idea is meant to represent Herman Hesse's existential philosophy about life which is reflected in his novel. Simply put, Hesse believed that man exists as an individual in a purposeless universe that is basically hostile. This conflict between man and his environment is represented by the juxtaposition of the two keys. His main character of this novel in fact succumbs to the cold waters of a glacier fed lake at the end of this book. The other main theme is a leitmotif representing the main character, Joseph Knecht; and is first stated by the Solo Horn in the first movement. The dialogue of this theme between horn and Flute and Piccolo was inspired by the introduction of the Music Master in this novel. Joseph Knecht meets the Music Master, who accepts our main character into the intellectual society of the elite Castalia.
The second movement is dedicated to Father Jacobus. While the first movement leitmotif for Joseph Knecht was based on 5ths going up; Father Jacobus' leitmotif is based on 5ths going down. The second movement makes much use of sounds sustained into each other as you would hear in a Great Cathedral. The movement is meant to reflect the peace that Joseph Knecht felt with the introduction of history and religion.
The final movement is the most programmatic. This movement begins with the opening celebration of Joseph Knecht's coronation to the post of Magister Ludi. The celebration is heard at first from a great distance. Since Joseph Knecht is reticent about his promotion to this high post, the horn soloist, representing our main character, never plays the Celebration March Melody. The Solo Horn instead answers the melody with protest. This opening section of the final movement grows to a frenzy introducing us finally to the Presto Theme featuring the Solo Horn. The theme from the second movement is briefly referenced as Joseph Knecht, now burdened with the responsibilities of the Magister Ludi, reflects on his more tranquil past at the monastery with Father Jacobus. At the close of this movement, the drowning sequence is loosely reflected in the music when the opening themes of the third movement return as our main character drowns.
Opening thematic material to the second movement is used as transition to return us to the original Joseph Knecht leitmotif in this final movement. Programmatically this is referencing the end of this great novel where Joseph Knecht's student, Tito, is now sitting on the lake's shore in shock over the death of his teacher, Joseph Knecht. But our main character
The Glass Bead Game with Piano
Glass Bead Game Chamber
Duration – 18’
Instrumentation - Solo horn, 1-pno, 1-hp, 1-perc
Glass Bead Game Chamber - Program Notes
"The Glass Bead Game" is a Horn Concerto loosely based on the Herman Hesse novel of the same title. In the first movement, two main themes dominate. The work opens with a bi-tonal motif based in Eb Major and A Major. This musical idea is meant to represent Herman Hesse's existential philosophy about life which is reflected in his novel. Simply put, Hesse believed that man exists as an individual in a purposeless universe that is basically hostile. This conflict between man and his environment is represented by the juxtaposition of the two keys. His main character of this novel in fact succumbs to the cold waters of a glacier fed lake at the end of this book. The other main theme is a leitmotif representing the main character, Joseph Knecht; and is first stated by the Solo Horn in the first movement. The dialogue of this theme between horn and Flute and Piccolo was inspired by the introduction of the Music Master in this novel. Joseph Knecht meets the Music Master, who accepts our main character into the intellectual society of the elite Castalia.
The second movement is dedicated to Father Jacobus. While the first movement leitmotif for Joseph Knecht was based on 5ths going up; Father Jacobus' leitmotif is based on 5ths going down. The second movement makes much use of sounds sustained into each other as you would hear in a Great Cathedral. The movement is meant to reflect the peace that Joseph Knecht felt with the introduction of history and religion.
The final movement is the most programmatic. This movement begins with the opening celebration of Joseph Knecht's coronation to the post of Magister Ludi. The celebration is heard at first from a great distance. Since Joseph Knecht is reticent about his promotion to this high post, the horn soloist, representing our main character, never plays the Celebration March Melody. The Solo Horn instead answers the melody with protest. This opening section of the final movement grows to a frenzy introducing us finally to the Presto Theme featuring the Solo Horn. The theme from the second movement is briefly referenced as Joseph Knecht, now burdened with the responsibilities of the Magister Ludi, reflects on his more tranquil past at the monastery with Father Jacobus. At the close of this movement, the drowning sequence is loosely reflected in the music when the opening themes of the third movement return as our main character drowns.
Opening thematic material to the second movement is used as transition to return us to the original Joseph Knecht leitmotif in this final movement. Programmatically this is referencing the end of this great novel where Joseph Knecht's student, Tito, is now sitting on the lake's shore in shock over the death of his teacher, Joseph Knecht. But our main character lives on in Tito's mind as a wonderful teacher and mentor.
ReviewRecording Review (of the chamber version) in The Horn Call, February 1999
"The outstanding piece of chamber music composed recently by Indianapolis Symphony Orchestra principal trombonist James Beckel takes as its program Hermann Hesse's novel by the same title. It is a tightly-constructed piece, juxtaposing tonal centers of E-flat and A in representing Hesse's existential philosophy of life: the conflict between man and his environment. Performers most familiar with the novel will undoubtedly understand the underlying leitmotif ideas about characters [Joseph] Knecht, Father Jacobus, and the Music Master. However, audiences and performers not as familiar with the literary background to the work will still be struck by the musical content. The work utilizes rising 5ths, . . . motivic repetition and ostinato, oscillating figures, many meters, whole-tone scale fragments, and bitonality. It is in three-movement design and lasts nearly 20 minutes, making this a major work for recital programs. A great variety of percussion instruments add drive and mood to the work: piano, harp, xylophone, chimes, glockenspiel, marimba, bell tree, triangle, timpani, vibraphone, drum set, gong, and wind chimes. A gamut of moods from the most subtle to powerful and angular keep the listener's attention throughout. This is a marvelous new work that deserves to be explored further."
Instrumentation - Solo horn, 1-pno, 1-hp, 1-perc
Glass Bead Game Chamber - Program Notes
"The Glass Bead Game" is a Horn Concerto loosely based on the Herman Hesse novel of the same title. In the first movement, two main themes dominate. The work opens with a bi-tonal motif based in Eb Major and A Major. This musical idea is meant to represent Herman Hesse's existential philosophy about life which is reflected in his novel. Simply put, Hesse believed that man exists as an individual in a purposeless universe that is basically hostile. This conflict between man and his environment is represented by the juxtaposition of the two keys. His main character of this novel in fact succumbs to the cold waters of a glacier fed lake at the end of this book. The other main theme is a leitmotif representing the main character, Joseph Knecht; and is first stated by the Solo Horn in the first movement. The dialogue of this theme between horn and Flute and Piccolo was inspired by the introduction of the Music Master in this novel. Joseph Knecht meets the Music Master, who accepts our main character into the intellectual society of the elite Castalia.
The second movement is dedicated to Father Jacobus. While the first movement leitmotif for Joseph Knecht was based on 5ths going up; Father Jacobus' leitmotif is based on 5ths going down. The second movement makes much use of sounds sustained into each other as you would hear in a Great Cathedral. The movement is meant to reflect the peace that Joseph Knecht felt with the introduction of history and religion.
The final movement is the most programmatic. This movement begins with the opening celebration of Joseph Knecht's coronation to the post of Magister Ludi. The celebration is heard at first from a great distance. Since Joseph Knecht is reticent about his promotion to this high post, the horn soloist, representing our main character, never plays the Celebration March Melody. The Solo Horn instead answers the melody with protest. This opening section of the final movement grows to a frenzy introducing us finally to the Presto Theme featuring the Solo Horn. The theme from the second movement is briefly referenced as Joseph Knecht, now burdened with the responsibilities of the Magister Ludi, reflects on his more tranquil past at the monastery with Father Jacobus. At the close of this movement, the drowning sequence is loosely reflected in the music when the opening themes of the third movement return as our main character drowns.
Opening thematic material to the second movement is used as transition to return us to the original Joseph Knecht leitmotif in this final movement. Programmatically this is referencing the end of this great novel where Joseph Knecht's student, Tito, is now sitting on the lake's shore in shock over the death of his teacher, Joseph Knecht. But our main character lives on in Tito's mind as a wonderful teacher and mentor.
ReviewRecording Review (of the chamber version) in The Horn Call, February 1999
"The outstanding piece of chamber music composed recently by Indianapolis Symphony Orchestra principal trombonist James Beckel takes as its program Hermann Hesse's novel by the same title. It is a tightly-constructed piece, juxtaposing tonal centers of E-flat and A in representing Hesse's existential philosophy of life: the conflict between man and his environment. Performers most familiar with the novel will undoubtedly understand the underlying leitmotif ideas about characters [Joseph] Knecht, Father Jacobus, and the Music Master. However, audiences and performers not as familiar with the literary background to the work will still be struck by the musical content. The work utilizes rising 5ths, . . . motivic repetition and ostinato, oscillating figures, many meters, whole-tone scale fragments, and bitonality. It is in three-movement design and lasts nearly 20 minutes, making this a major work for recital programs. A great variety of percussion instruments add drive and mood to the work: piano, harp, xylophone, chimes, glockenspiel, marimba, bell tree, triangle, timpani, vibraphone, drum set, gong, and wind chimes. A gamut of moods from the most subtle to powerful and angular keep the listener's attention throughout. This is a marvelous new work that deserves to be explored further."
Duration – 17’
Instrumentation - 4-5 hn, 1-pno
Paintings used as inspiration
The art used as inspiration may be found at this website link. All but Robert Weaver's work are displayed in the Indianapolis Museum of Art.
In the Mind's Eye - Program Notes
In the Mind’s Eye is a Konzertstuck for horns and orchestra inspired by visual art. Visual artists and composers have often collaborated or have been influenced by each other’s work. A famous example of this is Stravinsky and Picasso working together on ‘Pulcinella’. Impressionistic music occurred during the same period as impressionistic art. In a similar vein, this piece has been greatly influenced by visual art, and employs the use of musical effects that replicate various brush stroke techniques. Five paintings were used as inspiration for this three-movement work for horns and orchestra.
Movement I – Random Abstract
The first movement is dedicated to abstract expressionism artists. The specific painting that I used as inspiration in this movement is from the contemporary artist Ingrid Calame, who has used some of the concepts of abstract expressionism in her painting entitled ‘From #258 Drawing:
Tracings from the Indianapolis Motor Speedway and the L.A. River’. This painting uses tire tracks from the Indianapolis 500 as its basis.
This first movement is written from two perspectives. Part of the music reflects the perspective of the artist, while other moments in the movement represent the perspective of the viewer. The opening of the first movement is a good example of brush stroke imitation. The opening glissando of the harp, followed by the fast scalar passages in the woodwinds, represent the fast, broad, stroke of a paintbrush on the canvas. Jackson Pollack was known to actually paint to music and there was often a rhythm to his brush stroke. Throughout this first movement the listener will also hear short, chromatic chords that are meant to represent an abstract artist randomly throwing paint onto the canvas.
In this opening movement, the first entrance of the horns is my musical representation of a patron’s first impression upon viewing such an abstract painting. The music of the horns is meant to portray curiosity, interest, and questioning. The main second theme is music representing the painter’s perspective. The euphoria of an artist totally submerged in his or her creativity can be heard as the music grows in animation and intensity. This music, still in the voice of the artist, becomes more calm and ethereal as the artist’s mind searches for inspiration. After the artist’s inspiration is realized, the music intensifies with the return of the second theme. This pure adrenalin increases to a final climax of frantic brush strokes portrayed in the fast scalar passages now heard in strings, woodwinds, harp, and xylophone. The voice of the viewer at the art museum, who is pondering the final product of the visual artist’s work, is heard next in the solo entrance of the horn.
The first movement ends from the consumer’s perspective, relishing the vivid colors and shapes on the canvas from the abstract artist’s mind.
Movement II – Daniel in the Lion’s Den
A painting of the above title by Robert E. Weaver inspires this movement. This biblical subject has been a favorite choice for many artists over the centuries. For me, Robert Weaver’s work is the most stunning of those I have seen. The music, as well as the painting, addresses the concept of faith. The movement opens quietly with the horns in a quasi-Gregorian chant, setting the stage for Daniel’s overnight trial in the den of lions where his belief in God is tested. The trials and tribulations associated with man’s faith over the millenniums are reflected in this dialogue between horns and orchestra throughout this movement in G Minor. At the end of the movement you will hear a tremolo in the strings, taking us to a moment of Eb Major, which represents the answer to Daniel’s prayers as morning arrives and Daniel has been spared from the jaws of the lions.
Movement III – Reflections
The third and final movement is meant to deal with artists’ fascination with light’s reflection, particularly on water. There are three paintings chosen as inspiration for this movement. They are ‘Roussillon Landscape’ by Georges-Daniel DeMonfried; ‘The Channel of Gravelines’ by Georges Seurat; and ‘The Regatta Beating to Windward’, by Joseph M. W. Turner. Each painting is reflected in different parts of this third movement.
The movement opens with an exciting, heroic horn call from all of the horns, representing the excitement of a sailing contest as portrayed in Turner’s painting of the Regatta. An orchestra tutti follows this opening fanfare, where the music is very secco, representing the pointillist brush technique of Seurat’s neo-impressionistic painting. The excitement of an ocean adventure is continued when the horns re-enter. The solo entrance of the harp transitions the music into a more tranquil section that is meant to represent the beauty of sunlight reflecting off the ocean as seen in DeMonfried’s seashore landscape. Horn calls abound in the next section, depicting the adventure and pure beauty of water and light in these paintings. As viewers look at these paintings, their imagination brings their own images of the ocean and reflected light. These images are heard in the music. A final return to the opening horn call signals the end of this movement climaxing in a robust celebration of life as portrayed in visual and aural art.
In the Mind's Eye
Music for Brass and Percussion
Duration – 10’
Instrumentation – 6-tpt, 4-hn, 2-tb, 1-btb, 2-bhn, 2-tba, 2-perc
Music for Brass and Percussion - Program Notes
"Music for Brass and Percussion" is a three movement piece showcasing the many styles of a brass choir. The first movement is entitled Celebration and opens with a grand fanfare marked Andante maestoso. This fanfare leads into a light hearted, spirited theme marked Allegro that is playful in nature. The form of this faster section is a loosely based rondo alternating between the light hearted 6/8 tune and a more sustained theme that is grandiose in nature. The final statement of this grandiose theme ends the first movement.
The second movement is entitled Cathedrals and is marked Adagio tranquillo. This lyrical second movement features the glorious sounds of brass chorales. The opening starts with a plaintive French horn melody that is passed between many solo voices within the brass choir as the work progresses. Eventually, the music transitions into a loud, hymn-like setting which is similar to the sound of a grand organ playing in a large church. After the climax of this section, the music gradually returns to the softer opening melody imitating the peace and tranquility of individual prayer in a cathedral.
The last movement is titled Rejoice with a tempo marking of Presto. This final movement is lively in nature with many syncopated rhythms. The main theme to this movement is energetic and heroic. The middle section of this movement contrasts the rhythmic opening with a return to a more lyrical style which culminates in a held final chord before we return to the secco, opening theme. At the very end of this work we hear the return of the opening fanfare from the first movement now more grandly stated. At the conclusion of this fanfare theme we hear the energized syncopation of the opening to the third movement bringing this work to an exciting and rejoiceful conclusion.
Duration – 14’
Instrumentation - 1-fl, 2-ob, 2-cl, 2-bsn, 2-hn, 1-tpt, 1-pno, 1-perc
Music for Winds, Piano, and Percussion - Program Notes
Music for Winds, Piano, and Percussion was commissioned by and dedicated to the Indianapolis Chamber Winds, Darin Sorley, Music Director, and the Indianapolis Symphonic Band, Inc., Bob Phillips, Founder. It is scored for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, trumpet, piano, and percussion. This three-movement work is fourteen minutes long, and each movement has its own separate identity. It was first performed on October 19, 2006.
Music for Winds, Percussion, and Piano
Musica Mobilis
Duration – 4’10”
Instrumentation -
4-tpt, 4-hn, 3-tb, 1-tba, 3-perc
Musica Mobilis - Program Notes
“Musica Mobilis” is a work that was originally written for brass choir in 1996. It was commissioned by the Indianapolis Museum of Art to pay tribute to the work of Alexander Calder. Born on July 22, 1898, in Philadelphia. Mr. Calder became famous throughout the world as the visual artist who made sculpture move. He is perhaps most famous for his work in large mobiles. Just as his artistic mobiles are constantly moving and changing, so is the music in “Musica Mobilis.” A mobile has a set number of pieces that are in constant flux, creating new images as the juxtaposition of the pieces change. The concept for this composition is derived from the same approach.
The work opens loudly, painting the musical picture of a person’s first impression upon seeing one of Mr. Calder’s large mobiles. The immense stark power of the metal work is reflected in the opening chords in the brass. At the same time, musical harmonies and motives are being stated that becomes the basis for the entire composition. The main interest while listening to this work is to follow the evolution of the music as these basic motives change position, like a mobile. The work stays in one basic tonality representing the unchangeable pieces of the mobile. When examining one of Mr. Calder’s mobiles on display at the Indianapolis Museum of Art, Mr. Beckel specifically looked at a work entitled “Five Pieces Suspended.” He decided to base this work primarily on five basic notes: A, F#, G, C, and D; as heard in the opening chords of the composition. As these notes rearrange themselves, the music takes on different moods, similar to the effects of the movement of a mobile. The only real deviation from this model is an occasional E natural used as a passing note in fast runs and a very intentional G# to cadence the work at the very end.
This four and a half minute work is constantly changing, from the ominous opening to the pensive and reflective middle section, then transforming into an exciting finale. “Musica Mobilis” is meant to reflect the magic of Alexander Calder’s moving sculptures.
Duration – 15’30”
Instrumentation-12-hn, 2-3-perc
Portraits of the American West - Program Notes
"Portraits of the American West" was commissioned by Greg Hustis and dedicated to Mason Jones. This piece with twelve horns and 2 percussion was meant to capture scenes from the early American West.
The first movement, ‘Santa Fe Trail – 1826’ pictures a wagon train about to embark on a westward journey over the Sante Fe Trail in 1826. This trail was very popular at the time for pioneers, but extremely dangerous. The opening chorale is meant to reflect the wonder of the journey as well as a little trepidation about the risks involved. The main Allegro theme is fanfare-like in nature representing the courage and excitement of the men and women who made this trip. The Moderato section combines the chorale theme with this main Allegro theme in a slower tempo reflecting the solitude of the landscape on this long journey. The main Allegro theme returns marked Allegro Jubiloso, now in 3/4 time instead of 6/8, and the music accelerates over time as the wagon train nears its final destination. This movement concludes with a return of the opening chorale theme, now stated as a fanfare of celebration for a successful journey.
The second movement, ‘Prairie Sunrise – 1844’ paints a musical portrait of a sunrise over the prairie during similar travels of Americans settling the west. Such a sunrise on a pretty day must have been particularly beautiful over a virgin landscape.
The third movement, ‘Colorado Vistas – 1876’ portrays a similar picture of Colorado. The opening fanfare is a tribute to the grand, majestic image of the Rocky Mountains. The Allegro that follows is a tribute to the American cowboy and the adventures that they had while herding cattle in 1876.
This work was recorded by members of the Dallas and Houston Symphonies in November of 2007 for a CD released on Crystal Records.
Portraits of the American West
Primitive Modern
Duration – 8’48”
Instrumentation - 1-hn, recording
Primitive Modern - Program Notes
Primitive Modern was written in 2002 on a commission from Kent Leslie. It also was partially funded by grants from the Indiana Arts Commission and the International Horn Society. While man’s intellect has grown by leaps and bounds over the centuries, one must wonder if our emotions have evolved as well since the times of our caveman ancestors. Primitive Modern in part addresses this issue. The work opens quietly with sounds that conjure up the emotions of apprehension and fear, also reinforced by the first entrance of the horn. As the work progresses, we go from the slow opening to a faster, primitive, drum-like dance. The horn call that accompanies this music could easily be thought of as a war cry of our primitive ancestors.
While synthetic sounds used in the first part of the composition make use of unfamiliar sounds – possibly the cries of primeval beasts – in the middle of the work the listener will notice synthetic sounds of modern-day instruments. The harmonic language and use of these instruments imitate a more sophisticated musical structure, but eventually grows to a frenzied state that takes us to a horn cadenza. The remorseful nature of this cadenza suggests the sadness that man has not been able to rise above hatred, anger, and jealousy. The piece concludes with the return of the opening primitive dance, perhaps saying that we haven’t evolved that far from our caveman ancestors.
Primitive Modern interfaces the acoustic horn with taped synthetic sounds that address the issue of technology versus expression and emotion. Enjoy your journey into the primitive and the modern. The composer has dedicated this piece to the victims of the September 11, 2001 tragedy.
Instrumentation - 1-hn, recording
Primitive Modern - Program Notes
Primitive Modern was written in 2002 on a commission from Kent Leslie. It also was partially funded by grants from the Indiana Arts Commission and the International Horn Society. While man’s intellect has grown by leaps and bounds over the centuries, one must wonder if our emotions have evolved as well since the times of our caveman ancestors. Primitive Modern in part addresses this issue. The work opens quietly with sounds that conjure up the emotions of apprehension and fear, also reinforced by the first entrance of the horn. As the work progresses, we go from the slow opening to a faster, primitive, drum-like dance. The horn call that accompanies this music could easily be thought of as a war cry of our primitive ancestors.
While synthetic sounds used in the first part of the composition make use of unfamiliar sounds – possibly the cries of primeval beasts – in the middle of the work the listener will notice synthetic sounds of modern-day instruments. The harmonic language and use of these instruments imitate a more sophisticated musical structure, but eventually grows to a frenzied state that takes us to a horn cadenza. The remorseful nature of this cadenza suggests the sadness that man has not been able to rise above hatred, anger, and jealousy. The piece concludes with the return of the opening primitive dance, perhaps saying that we haven’t evolved that far from our caveman ancestors.
Primitive Modern interfaces the acoustic horn with taped synthetic sounds that address the issue of technology versus expression and emotion. Enjoy your journey into the primitive and the modern. The composer has dedicated this piece to the victims of the September 11, 2001 tragedy.
Duration – 12’30”
Instrumentation - 1-tpt, 1-organ
Sonata for Trumpet and Organ - Program Notes
Daniel Golando commissioned “Sonata for Trumpet and Organ” in 2004 for the natural trumpet in D. Mr. Golando plays trumpet with the Indianapolis Chamber orchestra. This work was completed in August of 2005. While this work was strictly written to be playable on the natural trumpet, this piece works equally well on a modern day trumpet. There are alternate trumpet parts in A for the A Piccolo Trumpet, and in C for the normal C Trumpet. There are measures with alternative lower notes to facilitate the performance on the C Trumpet.
This work is also versatile regarding performance venue. This work can easily be performed in a recital setting, but this sonata was written to also be useable in a Christian Church service. For this application, the first movement serves as the prelude, i.e. as a “Call to Worship.” The second movement can be used during the offertory of a church service. In fact the subtitle, “Jesus Wept” is a direct quote from the bible, John 11:35. This movement is meant to be peaceful and reflective. The final movement is perfect for a postlude at any church service. The hymn tune, “Make a Joyful Noise,” is incorporated in this final movement.
Instrumentation - 1-tpt, 1-organ
Sonata for Trumpet and Organ - Program Notes
Daniel Golando commissioned “Sonata for Trumpet and Organ” in 2004 for the natural trumpet in D. Mr. Golando plays trumpet with the Indianapolis Chamber orchestra. This work was completed in August of 2005. While this work was strictly written to be playable on the natural trumpet, this piece works equally well on a modern day trumpet. There are alternate trumpet parts in A for the A Piccolo Trumpet, and in C for the normal C Trumpet. There are measures with alternative lower notes to facilitate the performance on the C Trumpet.
This work is also versatile regarding performance venue. This work can easily be performed in a recital setting, but this sonata was written to also be useable in a Christian Church service. For this application, the first movement serves as the prelude, i.e. as a “Call to Worship.” The second movement can be used during the offertory of a church service. In fact the subtitle, “Jesus Wept” is a direct quote from the bible, John 11:35. This movement is meant to be peaceful and reflective. The final movement is perfect for a postlude at any church service. The hymn tune, “Make a Joyful Noise,” is incorporated in this final movement.
Sonata for Trumpet and Organ
String Quartet
Duration – 17’27”
Instrumentation - 2-vn, 1-va, 1-vc
String Quartet - Program Notes
Susan Chan and Dean Franke commissioned String Quartet No. 1 in 2005 for their New Century String Quartet. The work is in three movements. The first movement is marked Allegro Molto, and the basic form of this first movement is an ABA form in D major. This opening movement is whimsical and lighthearted in nature, featuring the use of string pizzicato and canonic writing.
The second movement, marked Andante, is in stark contrast to the first movement. This movement opens in F minor with the cello first stating the main theme to this middle movement. It continues to build over time, modulating to a rather intense, D minor middle section in this basic rondo form. The final return of the A theme which concludes this movement is bi-tonal in nature juxtaposed between F minor and D minor. The mood of this movement is a sad one questioning perhaps the basic nature of man in lieu of September 11th. The bitonality of the ending of this middle movement is meant to leave the fate of man’s future unanswered.
The final movement of this string quartet is marked Allegro and is intended to convey a more optimistic mood. The opening rhythmic G major statement in the 1st Violin is jazzy in nature and meant to feel like a breath of fresh air after the second movement. The responding, pizzicato from the Viola and Cello is a musical reference to the lighthearted mood of the 1st movement. This final movement quickly goes into a driving blues section featuring the solo work of the first Violinist specifically written to showcase one of the commissioners, Dean Franke. This section eventually slows into a gospel-like section marked Andante ala Recitative featuring the beautiful viola sound and singing style of one of the other commissioners, Susan Chan. A cascading, ponticello, tremolo motif from this slow blues section takes us back to the recapitulation of this final movement and an exciting ending to this string quartet.
Instrumentation - 2-vn, 1-va, 1-vc
String Quartet - Program Notes
Susan Chan and Dean Franke commissioned String Quartet No. 1 in 2005 for their New Century String Quartet. The work is in three movements. The first movement is marked Allegro Molto, and the basic form of this first movement is an ABA form in D major. This opening movement is whimsical and lighthearted in nature, featuring the use of string pizzicato and canonic writing.
The second movement, marked Andante, is in stark contrast to the first movement. This movement opens in F minor with the cello first stating the main theme to this middle movement. It continues to build over time, modulating to a rather intense, D minor middle section in this basic rondo form. The final return of the A theme which concludes this movement is bi-tonal in nature juxtaposed between F minor and D minor. The mood of this movement is a sad one questioning perhaps the basic nature of man in lieu of September 11th. The bitonality of the ending of this middle movement is meant to leave the fate of man’s future unanswered.
The final movement of this string quartet is marked Allegro and is intended to convey a more optimistic mood. The opening rhythmic G major statement in the 1st Violin is jazzy in nature and meant to feel like a breath of fresh air after the second movement. The responding, pizzicato from the Viola and Cello is a musical reference to the lighthearted mood of the 1st movement. This final movement quickly goes into a driving blues section featuring the solo work of the first Violinist specifically written to showcase one of the commissioners, Dean Franke. This section eventually slows into a gospel-like section marked Andante ala Recitative featuring the beautiful viola sound and singing style of one of the other commissioners, Susan Chan. A cascading, ponticello, tremolo motif from this slow blues section takes us back to the recapitulation of this final movement and an exciting ending to this string quartet.
Duration – 6’
Instrumentation – 1-tb, 1-btb, 1-pno
Watch and listen -– Lament by James Beckel Jr. - YouTube
Contact composer to purchase this work.
Lament for Two Trombones - Program Notes
"Lament for Two Trombones and Piano" was written in 2001 for then doctoral students Paul Compton and Josuah Brown. They had asked me to write a work for them in the begining of that year, 2001. I had initially imagined an uplifting three movement work for Paul and Joshua, but as I was sketching out the movements for their piece, September 11th happened which changed a lot of things in the world that dreadful day, including depressing me so much that I didn't feel I could write the work that I had originally planned, and they had commissioned. After struggling with this for over a month, I contacted Paul and asked if I could write a different piece from the one that was initially planned, and he graciously agreed.
In one of the later performances of this work by myself and Jared Rodin, a dear colleague of mine commented that the work was not much of a lament. After explaining the meaning of the piece, he understood. The opening and closing of this piece can easily be described as sad, tragic, and painful which, of course, qualifies itself as a lament. The Allegro moderato, however, seems less like a lament. As I pondered the tragedy of 9/11 in writing this work, it become apparent to me the amount of hatred and anger that was ever present in the actions that led up to 9/11. This music in the Allegro section of this piece is meant to reflect the scheming and the evil that existed in the perpetrators of that horrific event. The months and even years of planning that went into this attack, and the pain and suffering that it caused are all reflected in the faster section of the lament. The sounds from the piano are meant to represent the sounds of fire trucks rushing to those twin towers that day to save people, many of those brave fire fighters giving up their own lives to save others. They are true heroes. The fortissimo, interrupting chords in the piano, are imitating the sounds of the first tower crashing to the ground. The syncopated chord clusters represent the second tower collapse and pure disbelief as the dust starts to settle and the realization that all that happened that day was not an accident but a treacherous attack on the United States of America. The return of the Adagio music is the composer's dismay of that day and the remorse that the evil and hatred that lies within many people's hearts may prevent us from ever living together in peace and harmony. I hope that I am wrong.