Maria Lord

Audio Available

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Eprint Folders

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Large Print Edition

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Prop65

Score Available

Video Available

Family Holmes Videos weaves together the stories of the two sides of my family coming together through the double concerto grosso format, ideally with accompanying film. The clarinet, bassoon, trumpet, trombone, violin, cello or contrabass, and timpani represent my father’s side of the family coming from England, while the glockenspiel, vibraphone, chimes, and other metallophones (triangle, bell tree, etc.) represent my mother’s side coming from Germany. The piece makes heavy use of aleatoric and improvised sections with sufficient scaffoling to be a good introduction to these techniques. The score’s flexibility also provides ample opportunities throughout for the director help the ensemble realign with the film if necessary. Originally composed for a community orchestra, almost any level of orchestra would enjoy this unique opportunity to help a film come to life for a live audience, provided the members of the soli groups are strong musicians!

Family Holmes Videos

Full Orchestra Score & Parts

Voice

Voice Category

Commissioned and Empowered explores harmonic progressions that pleasantly subvert expectations. The piece would provide an opportunity for a university level choir to gain confidence performing octatonic scales, angular melodies and countermelodies, harmonically complex counterpoint, and advanced rhythms. The text combines passages from the Bible in which God defines his covenant relationships with people and gives them purpose; it is a sacred work that would be appropriate for the concert hall, a graduation ceremony, or a vocation-focused church event. Duration: 5 minutes. To learn more about the composer and her other works, visit marialordknivetonmusic.com.

Commissioned and Empowered

SA/TB Octavo

Ensemble

Instrument Family

Instrument Type

A Meditation on Grief

Horn in F Solo

Soliloquy

Bassoon Solo

Two Pianos, Two Hands explores the concepts of ability, disability, and identity as applied to musicianship. One performer uses the right hand; the other uses the left. Additionally, three different interchangeable versions are available for each performer to accommodate all levels of piano proficiency, musical literacy, and cognitive function. Purchase the whole set or just the version you want to perform. Each of the nine basic permutations may be purchased individually as instrumental parts at a discounted rate with labels in the format 'Version "LI-RIII." ' This particular example indicates that the left hand performer would be playing version I and the right hand performer would be playing version III (see descriptions of the three versions below).

All versions of this piece are equally valid, and performers should strive for the highest level of musicianship of which they are capable, whichever version they chose to perform. They may also choose to play from different versions at different points in the piece, creating endless possibilities for how the piece turns out while still maintaining a coherent feeling.

Generally, the right hand part is more difficult than the left hand part.

Version I: this version is the most flexible, being a completely improvised part. Instructions are given to guide the improvisation in the form of verbal instructions, symbols indicating whether to use black or white notes or both, graphics that show what register to play in, and diagrams of piano keys indicating what hand positions to use at various points. If needed, a person playing this version may receive verbal cues in performance.

Version II: this version is the easier of the two that are fully notated, and may be further simplified by the performer if needed.

Version III: the most technically challenging, this version includes quick changes between unusual chords, fast register leaps, very difficult rhythms, and staggered entrances and releases of notes in chords.

Duration: 10 minutes. To learn more about the composer and her other works, visit marialordknivetonmusic.com.

Two Pianos, Two Hands

Piano Accompaniment Duet

Waltz for the Courts of Queen Jadis

Piano Solo

On Knowing Persons

Mezzo-Soprano Solo

Sepik Suite

Saxophone Solo

God's Mercy and Truth

SATB Octavo

The Pursuit

Soprano Solo

Exotic

Clarinet Solo

God's Word Among Us

For the Joy Set Before Him

Kubugam Kakaruk translates as "Rooster from Kubugam," referring to the coastal village of that name in Papua New Guinea. Inspired by the many different rooster crows heard in Kubugam, as well as other birds, waves and tides of the ocean, and snippets of local church music, Kubugam Kakaruk uses a "choose your own path" method to create organic soundscapes that are always recognisable but never the same twice. This piece is ideal for classical musicians who want to dip their toes into improvising by using predetermined phrases provided by the composer and experiment with some of the easier extended techniques for their instruments. Note: performers read off score. This is the 11x17 size version, which has easier page turns but may be more difficult to print at home and store. An 8.5x11 version is also available. The 11x17 score uses the same page numbers as the 8.5x11, with a page number assigned both to the top and bottom halves of each page so that the page numbers remain the same between versions for ease of reference. Duration: 8:00 min.

To learn more about the composer and her other works, visit marialordknivetonmusic.com.

Kubugam Kakaruk (11x17)

Woodwind Quintet

Kubugam Kakaruk translates as "Rooster from Kubugam," referring to the coastal village of that name in Papua New Guinea. A woodwind quintet inspired by the many different rooster crows heard in Kubugam, as well as other birds, waves and tides of the ocean, and snippets of local church music, Kubugam Kakaruk uses a "choose your own path" method to create organic soundscapes that are always recognisable but never the same twice. This piece is ideal for classical musicians who want to dip their toes into improvising by using predetermined phrases provided by the composer and experiment with some of the easier extended techniques for their instruments. Note: performers read off score. This is the 8.5x11 size version, which is easier to print at home and store but which has more complicated page turns. An 11x17 version with better page turns is also available. Duration: 8:00 min.

To learn more about the composer and her other works, visit marialordknivetonmusic.com.

Kubugam Kakaruk (8.5x11)

Paradise Alley contrasts the percussive and energetic side of the bassoon and contrabassoon with lyrical but quirky and slightly jazzy tunes that span the entire range of the instrument. Parts tend to stick to their registers, making it a good selection for a group of varied comfort levels with the high and low extremes. Multiphonics are limited to two bassoon parts; easier extended techniques such as slap tongue and key clicks are enjoyed by all. Duration: 6 min.

To learn more about the composer and her other works, visit marialordknivetonmusic.com.

Paradise Alley

Bassoon Sextet

St. Margaret and the Dragon follows the story of St. Margaret of Antioch, a girl who was raised by a Christian shepherdess because her mother died. Her father eventually disowned her due to her Christian faith, and she ended up in the dungeon of a Roman provost because she refused to deny her faith in Jesus Christ so he could marry her. While in prison, she defeated a dragon with the sign of the cross, but eventually was beheaded. The tape track represents the different environments and events of St. Margaret's life, while the oboe part represents St. Margaret and her responses to her life circumstances. Versions with and without click of the track are available for free download from the "St. Margaret and the Dragon" page of the composer's website: marialordknivetonmusic.com. Duration: 8:00 min.

St. Margaret and the Dragon

Oboe Solo

Smaragdus draws its inspiration from the writings of St. Hildegard von Bingen, some medical and some religious. The track features processed samples of fountains, waves, crystal glasses, and singing underwater, corresponding to some of the themes of her writings, while the flute complements it with a variety of subtle timbral effects including key clicks, mixing air and tone in various proportions, and "soft double-tonguing," a technique that I am unaware of others having used previously. The track is available for free download from the "Smaragdus" page of the composer's website: marialordknivetonmusic.com. Duration: 8:00 min.

Smaragdus

Flute Solo

Songs for the Wilderness explores themes of deprivation, suffering, death, hope, restoration, and life found in the poetry of Cynthia Erlandson.  These themes are expressed with a variety of approaches to pitch (atonality, modes, tonality) and extended vocal techniques.  The six songs in the cycle may be sung all together or in smaller sets; recommended pairings are songs 1 and 6, 2 and 5, and 3 and 4 as the latter three songs in the cycle deal with issues raised in the first three in reverse. Though written for mezzo-soprano, it could be sung in any key and any range. Duration: 16:00 min.

To learn more about the composer and her other works, visit marialordknivetonmusic.com.

Songs for the Wilderness

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