Brian Nabors

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Prop65

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I was asked to compose this work by my very good friend and oboist Bonnie Farr for the International Double Reed Association Conference of 2016.  I was elated to write for this intrumentation as many woodwind players crave new works that have the potential to become standards among this instrument group.  I sought to write a sonata that was timeless, almost classic, and tells a very captivating story through the tapestry of its harmonic language, and stark rhythmic shifts.  The oboe is a widely expressive instrument with many emotional colorations, from the whimsical, to the utmost passionate melodic phrases.  I wanted a classic contemporary model of what an early 21st Century oboe sonata could be.  I'm very happy to say, I am pleased with the creation of that model.

Sonata for Oboe & Piano (2016)

Oboe Solo with Piano

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<p>I have always had an affinity for the whimsical. It comes as no surprise that I would find a wealth of satisfaction from the poetry of Lewis Carroll, known for his comic fantasies. This poem, "Jabberwocky" was included in the 1871 publication of Carroll's novel, Through the Looking Glass, and What Alice Found There. There is such an abundance of creative zeal and originality within that I found myself enthralled with the idea of one day setting the text. It is an exciting tale laden with many twists and turns, and the piece is structured to follow Carroll's thrilling sense of adventure!</p>

Jabberwocky

SATB Octavo

"Nimbus Volare" was commissioned by flutist Dr. Brad Garner for performance with the West Texas A&amp;M University Symphonic Band.  The piece is a direct orchestration of the composer's three-movement flute sonata, condensed into an 8-minute concerto for flute and wind band.  Orchestrating the flute sonata for the ensemble was a special treat for the composer, as wind band is an incredibly interesting group to write for.  You find a wide variety of timbres that differ from writing for an orchestra. The piece is constructed in the style of a rhapsody, creating a soaring narrative by exploring contrasting sound worlds within its three major sections.  The title was inspired by the sweeping atmosphere and contemplative nature of the opening and middle sections of the piece, followed by a fiery, barbaric finale; "Nimbus" symbolizing the free floating nature of a cloud and the vast nature of the sky, and "Volare" signifying flight and the element of total freedom.[Solo flute, Picc., 2 fl., 2 ob., 3 cl., bass cl., 2 bsn., 4 sax (aatb),3 trps (Bb), 4 hrns, 2 tromb, bass tromb, euph, tuba, timp., dbl bass, 3 perc.]

Nimbus Volare

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I have always enjoyed the sound of the flute.  I was more than excited to finally write a full length work for this very beautiful instrument as opposed to parts for it in other compositions.  Being that the instrument is so colorful, brilliant, subtle, and agile, I sought to write a sonata for the instrument that explored the many qualities it contains while combining these ideas with my jazzy, semi-dissonant, writing style.  It is full of contrasts in mood, from the very sweet to the utmost satirical.  It is an advanced work that seeks to please audiences.

Sonata for Flute & Piano

Flute Solo with Piano

Bootleg Hoedown was composed for the Unheard-of//Ensemble during their residency at the College-Conservatory of Music, University of Cincinnati. When composing Bootleg Hoedown, I was very much inspired by memories of my upbringing in the south. Although not heavily involved with  hoedown  music, I knew of its deep cultural roots. Being from Birmingham, Alabama, I'm mostly a city dweller, but a southern city gives you the opportunity to experience many cultures within a modern town. The term  bootleg  generally refers to something that is fraudulent or not authentic. Being that my roots are mostly R&amp;B, Gospel, and Jazz, this piece is a  bootleg of a hoedown; my remix of what a hoedown sounds like!

Bootleg Hoedown

Flexible Instrumentation Quartet

<p>An enchanting setting of this mysterious Latin text. This setting of the ever famous Lux Aeterna contains effects of whisper throughout the chorus and lush harmonies that allow the text to sparkle. Great for young collegiate to advanced choirs alike.</p>

Lux Aeterna

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The piece is in one movement, with 6 sections of developmental material. It is written as a single large narrative in which the material of each section grows in rhythmic complexity. From the beginning, singing voices lend themselves to an ever growing wall of sound that finally dissipates into a contrapuntal agitato. Once the climax of the piece is reached, the ethereal atmosphere from the start serves as a "return home."  The piece was written for my undergraduate piano professor, Dr. Kathryn Fouse of the Samford University School of the Arts.

Piano Sonata (2016)

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