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​About the Work...
“Divergents” - Concerto for Tuba was composed in 1980-81 during my Graduate School studies with Composer Dr. Byong Kon Kim and Composer and Wind Ensemble Conductor William Hill at California State University, Los Angeles.

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. March - Slancio q.  =82 

   This first movement begins with a polytonal fanfare that transitions into a lighter woodwind accompaniment, setting the stage for the rhythmic and lyrical entrance of the Solo Tuba. At measure 34, the clarinets, marimba, and piano initiate a flowing ostinato pattern that supports the Solo Tuba, while the trumpets and horns echo the tuba’s melodic lines. The music intensifies in volume and orchestral weight as the Solo Tuba reaches its upper range. At measure 65, as the Solo Tuba rests, the band spins out a canonic figure that soon fragments and increases in intensity until measure 76, where the Solo Tuba and band punctuate the transition to the cadenza. The cadenza ebbs and flows, gradually building in rhythmic energy that leads the movement back to familiar musical material that culminates in a powerful concluding cadence.

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II. Nachtmusik - Pensively q =60 "I am weary from my groaning..." (Psalm 6:6)

    The Psalmist David wrote, "My soul also is greatly troubled...I am weary from my groaning; all night I make my bed swim; I drench my couch with my tears" (Psalm 6).

    The title of the second movement, "Nachtmusik" (Night Music), borrowed from Gustav Mahler, reflects the atonal musical influence from my studies with composer Dr. Byong Kon Kim. This movement reflects a restless night when the body is weary, but the mind is troubled by the cares of the day. At measure 21, the piano plays a recurring passage that symbolizes the relentless ticking of a clock throughout the night. The solo tuba introduces unfolding melodies expressing a restless longing. Even after we finally fall asleep, we may wake up only to find that it is still just 1:06 AM. ​

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III. Toccata - Slancio q =120

    The term "Toccata" often appears in my works and is associated with two influential composers from my student days: J.S. Bach and Keith Emerson of Emerson, Lake & Palmer. This movement is filled with challenging musical elements for the soloist, and the rhythmic and melodic material exchanged between the soloist and the ensemble maintains an aggressive drive right up to the final note.

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    The title "Divergents" is used with permission and is inspired by the four-movement work of the same name composed by my teacher, W. Francis McBeth, in 1969. In my third movement, at measure 41, there is a deliberate reference to the rhythmic idea that McBeth employed at letter B in the second movement of his “Divergents." Listen to Divergents by W. Francis McBeth.​

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