REFLECTIONS – Music of Carleton Macy innova  503



1 - 12                REFLECTIONS (1988/92)                                                                                                 24:42

John Jensen, piano

1       Nocturne  (3’09”)

         Prelude in d minor, Well-Tempered Clavier, Book I, BWV 846  - J. S. Bach

2       The Maiden  (2’46”)

         Das Verlassen Magdlein from Mörike-Lieder, no. 7 (1888) - Hugo Wolf

3       Nocturnal Etude (2’12”)

         Nocturne in Eb Major, Op.9, no. 2 - Frederic Chopin

4       Sehr langsam (2’30”)

         Sehr langsam, Op. 5, no. 4 - Anton von Webern

5       Circle (1’47”)

         Variationen, op. 27, mvt.2 - Anton von Webern

6       Piccola Musicale  (2’37”)

         Quaderno Musicale di Annalibera, no. 11 - Luigi Dallapiccola

7       Impromptu  (1’23”)

         Impromptu in A flat minor, op. 90,, no. 4, - Franz Schubert

8       Moon  (2’41”)

         How High the Moon - Morgan Lewis

9       Invention  (1’29”)

         Prelude in e minor - Frederic Chopin

10       The Hare (0’51”)

          Invention in f minor, BWV 780 - J. S. Bach

11       Cadence  (0’56”)

          Prelude in C Major, Well-Tempered Clavier, Book I, BWV 846 - J. S. Bach

12       Rainbow Etude (1’16”)

          Over the Rainbow - Harold Arlen

13 - 14              SOLSTICE and EQUINOX (1992)                                                                                    10:38

Julia Bogorad and Adam Keunzel, flutes

John Jensen, piano


15                     MARIA MUSIC (1976)                                                                                                        6:39

John Jensen, piano


16 - 18              THREE OSTINATO STUDIES (1985)                                                                               11:30

John Jensen and Christine Dahl, pianos


                                                                                                           Total time  53:29

REFLECTIONS – the composer


Composing, to me, is a reflection of all things present and past.  Although I strive continually for new expressions, I also revel in the connection of the past with the present as well as the interrelationships that exist between the many diverse 'presents,' such as jazz, concert, pop, and international ethnic styles.  Each of the compositions on this recording is a form of real or metaphorical reflection.


CARLETON MACY (b. 1944) is a composer of works ranging from vocal and orchestral to jazz and music for non-western instruments.  Macy's music often integrates a variety of historical and ethnic stylistic influences.  His compositions have been performed throughout the U.S. and in Europe, and are recorded on the MCF innova series and on ACCESS RECORDS.  His woodwind quintets have received special recognition at the National Symposia for New Woodwind Quintet Music held at the University of Georgia.   A recent McKnight Composer Fellowship helped to fund the present CD as well as a setting of Faust for saxophones and strings, premiered in Paris in 1994.  Macy’s composition teachers have included William Bergsma, Robert Suderberg, and Donal Michalsky.  He is Professor and Chair of Music at Macalester College in St. Paul, Minnesota where he has taught since 1978.  In addition, he presently serves as Artistic Director and resident composer with the Minnesota Chinese Music Ensemble. 




REFLECTIONS – the music


REFLECTIONS (1988/92) (24’42”) derives from a composition for solo piano with the same title.  This keyboard work is a set of 12 're-compositions' based upon diverse pieces I have long admired and enjoyed.  The sources are drawn from repertoire spanning the last three centuries, including keyboard pieces by Bach, Schubert, Chopin, Webern, and Dallapiccola, popular songs, an art song by Hugo Wolf, and a string quartet movement by Anton von Webern. Each draws inspiration from the original harmonic structure while creating a new texture and a wholly new aesthetic setting.  An ear already familiar with the parent pieces will be able to identify the basic harmonic shaping and, perhaps, an occasional melodic motif.  The source works are:



SOLSTICE and EQUINOX (1992) (10’38”), for two flutes and piano, reflects the harsh spirit of a Minnesota winter solstice and the calm balance of an autumn equinox.

      Solstice (3’50”) is a play on differences and extremes; forceful countrapuntal textures and quiet lyricism occur both separately and together.  Sections are driven by either harmony or melody, but rarely both.

      Equinox (6’48”) is a play on equalities.  While maintaining their idiomatic identity, the instrumental parts are given equal roles.  An air of classical balance permeates the melodic, harmonic, and contrapuntal textures.


MARIA MUSIC - (1976) (6’39”), for solo piano, was written for Maria Paralta, a Brazilian student in the composer's theory class at the University of Washington.  Her continual reference to all music as some form of "tango" made both a lasting impression and a convincing argument; her concept of Brahms as one of the greatest of all tango composers still haunts me.  The four movements of Maria Music are in fact four tangos of vastly differing character, each reflecting a different aspect of "tango".


THREE OSTINATO STUDIES (1985) (11’30”), for two pianos, originated as explorations of my fascination with minimalism.  Each piece exploits a different ostinato principles:

Andante Cantabile (5’32”) maintains an accompanimental arpeggio which is wrapped in a variety of melodies and harmonies.

Lyric Variations (3’24”) presents a melody which undergoes metric, harmonic, and temporal changes while maintaining its proportional values.

Allegro Molto (2’34”) preserves an harmonic and temporal structure while undergoing dramatic textural, melodic, and timbral variation.




REFLECTIONS – the performers


John Jensen, piano:  Formerly a member of the Mirecourt Trio, Mr. Jensen is now a freelance artist residing in St. Paul; he appears in a variety of classical and jazz settings and  performs regularly with the St. Paul Chamber Orchestra and the Minnesota Orchestra.  His numerous recordings include three ragtime LPs for Genesis Records, seventeen recordings with the Mirecourt Trio, many mixed chamber ensemble CDs for Music and Arts, solo recordings of the Ives sonatas, plus works by Ernst Bloch, Carl Ruggles, Paul Reale, and Larry Lipkis, as well as solo jazz recordings. 


Julia Bogorad, flute: Principal flutist with the Saint Paul Chamber Orchestra, Ms. Bogorad is an internationally known concerto soloist and recitalist.  She can be heard on numerous recordings with the SPCO conducted by Dennis Russell Davies, Pinchas Zuckerman, Hugh Wolff, and others.  She also is recorded in solo and chamber music performances issued by the Schubert Club and the Minnesota Composers Forum.


Adam Kuenzel, flute:  Principal flutist with the Minnesota Orchestra, Mr. Kuenzel has been featured on national broadcasts as soloist in the concerto of Jacques Ibert and the Red Piper Fantasy of John Corigliano.  He can be heard on recent recordings with the Minnesota Orchestra.  Mr. Kuenzel studied at Oberlin and Yale with Bob Willoughby and Tom Nyfenger.


Christine Dahl, piano:  A freelance pianist and teacher, Ms. Dahl has performed as soloist and accompanist with the Minnesota Artists Ensemble, the Sylmar ensemble, and the St. Paul Chamber Orchestra.  She can be heard in recordings in the MCF innova series and on discs of the SPCO.




Recording Engineer: Russ Borud

Production assistance from Joseph Holmquist and John Jensen


DAT recorded at Macalester College, March 11 and 12, 1994; digitally edited by Russ Borud.

Pianos by Steinway.  Flutes by Brennan with matching gold head joints.