Notes on Works by Janet Peachey
Chaconne for piano quintet is loosely based on the Baroque variations form in which the main thematic material that is repeated and varied is a harmonic progression (rather than a bass line or melody). In the slow opening section, the progression is treated freely. It first appears in its entirety in pizzicati in the strings, followed by a statement of it in inversion in the piano. A prominent countersubject soon takes over, building to a climax. The harmonic progression then returns and is stated in several more variations. Chaconne was premiered in 1998 by the Sunrise Quartet with pianist George Peachey. Duration: 9’ LISTEN
Duo for cello and piano was commissioned by cellist Robert Park and written in 1989 and revised in 2008. The one-movement work has three parts. After a short introduction, the energetic opening section is driven by syncopation and changing meters. The cello plays a slow, lyrical melody in the middle section, ending in a dramatic cadenza which leads into a recapitulation of the first section. Duration: 8’30”
The Elements, a chamber work in four movements, was commissioned by the Washington Ballet and choreographer Rex Bickmore in 1991 and premiered by them at the Kennedy Center in Washington. Janet Peachey conducted the Washington Ballet Ensemble in the performances. Composition of the work was supported by a grant from the D.C. Commission on the Arts and Humanities. Each movement characterizes one of the four ancient elements: Water, Earth, Fire, and Air. In the ballet, entitled Transformations, each of the elements represents a stage in a person's life. Water symbolizes his birth; in Earth the he comes to terms with his existence and undergoes an adolescent rite of passage. In Fire he experiences the passions of mature adulthood and in Air old age and transcendence. The Elements is scored for clarinet, trumpet, percussion, piano, violin, and cello. Duration: 25’
Exchanges for clarinet, cello, and piano is the chamber music version of a double concerto for clarinet, cello, and orchestra which was written under a Composer's Fellowship from the National Endowment for the Arts. In this version of the piece, a dialogue occurs between the two "solo" instruments and the piano; all three are treated virtuosically. The work was premiered by Washington Music Ensemble at the Kennedy Center in Washington in 1987, the year of its composition. Duration: 13’30
Fable for string quartet was written in 1987 and premiered the same year by the Eakins Quartet (now the Sunrise Quartet). It is published by Arsis Press. It is a one movement work containing a number of motives, each of which is developed by itself as well as in combination with the others. After a slow introduction, the piece begins with a trill and ascending 16th note figure, followed by downward cascades in all instruments, finally giving way to a slow pianissimo section. Out of this grows an energetic dotted motive which climaxes in a repeated note figure. The last principal motive is chorale-like, played pianissimo. These motives are brought back in various forms throughout the piece as they interact with and influence each other. Duration: 11’
Loops for piano begins with an energetic, jazzy motive built around the interval of a minor third, upon which the entire work is based. This quickly explodes into driving, syncopated rhythms utilizing the entire range of the piano. The initial motive returns in various forms throughout the piece, just like a string looping around and through itself. Duration: 5’ LISTEN
Night Songs for violin and piano was composed for violinist Mark Hartman in 2009. It incorporates two evening hymns: Now the Day is Over, written by Joseph Barnby in 1868, and Der Tag mit seinem Lichte, originally attributed to J. S. Bach and included in his collection of sacred songs, but actually written by Jakob Hintze in 1670. The work consists of three movements. The first two movements present the hymns: Now the Day is Over in the first and Der Tag mit seinem Lichte in the second, accompanied by the BACH motive (B flat-A-C-B). These movements are short and there is no pause between them. The third movement is much longer, introducing and developing new material as well as material from the first two movements. Night Songs was premiered at the Sound in the Lands Festival in Waterloo, Ontario, in June, 2009 by Mark Hartman, violin, and Janet Peachey, piano. Duration: 12’ LISTEN
The Temptation of Jesus in the Wilderness for orchestra is a one-movement tone poem. It is based on the story in the New Testament where Jesus goes into the wilderness, and, after fasting forty days and forty nights, is tempted three times by the Devil. In each case Jesus is able to resist the temptation and finally is received by angels. The work is lushly orchestrated, using a triple wind orchestra with ample strings, percussion, and harp. It was performed by Das Niederösterreichische Tonkünstlerorchester in the Musikverein in Vienna, conducted by Janet Peachey. Duration: 13’30”
Views Through a Window is setting of four poems by Beth Joselow for soprano with clarinet, cello, and piano. These poems depict various facets of women's experience; the ideas for these poems grew out of things a woman might imagine while doing domestic chores. The cycle was written for Marilyn DeReggi and and the Interarts Ensemble, who premiered it at a Composers Portrait concert at Strathmore Hall, Rockville, MD in 1990. Its composition was supported by a grant from the D.C. Commission on the Arts and Humanities. Duration: 11’ LISTEN
Waiting: An Elegy for choir and cello was commissioned by the 2009 Sound in the Lands Festival at Conrad Grebel College, University of Waterloo, Ontario, for the Mennosingers choir under the direction of Peter Nikiforuk. It was premiered in June, 2009. The text is by poet Cheryl Denise. Duration: 6’30”