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SONATINE for Beth

I started formal composition study in 1968, first with composer Eugene Kurtz, based in Paris but filling in that semester at the University of Michigan. A proponent of modern French music, his compositional models included Debussy and Ravel. He assigned me to immerse myself in deep study of their music, in particular Ravel’s SONATINE (1905). I met Beth, a flower lover, in Interlochen in 1975. She had been a promising flute student at Aspen, but embarking on a journalism career specializing in horticultural writing. The Ravel study came back to me later in my career, as I began to adopt its lush, bright harmonic language and a gentle French Impressionist quality. My SONATINE for Beth (2025) is spun from a single harmonic progression, seven chords each stacking one Perfect 5th interval above another. This material generates melodic lines and many arpeggio patterns, in successive variations of changing register, intensity, and rhythmic pace.