A Heavy Sleep | guitar solo by Frank A. Wallace

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A Heavy Sleep
by Frank A. Wallace

for solo guitar on the occasion of Benjamin Britten’s 100th Anniversary
Suggested donation: $5.00

Duration: 4:20 minutes; 2 pages

Difficulty level: Moderate for concert guitarist

Written: March, 2013

Commissioned by: Detlev Bork on the occasion of Benjamin Britten’s 100th Anniversary

Instrumentation: solo guitar

World premiere: November 9, 2013 by Detlev Bork at Kammermusiksaal der Musik- und Singschule Heidelberg, Germany

Recording: by Frank A. Wallace on Gyre: Elemental, 2013

All Gyre compositions are ASCAP
Copyright ©2013 Frank A. Wallace
Cover photography and design by Nancy Knowles
All rights reserved.

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Detlev Bork, guitarist

Detlev Bork, guitarist

A Heavy Sleep

was commissioned by and written for German guitarist Detlev Bork on the occasion of Benjamin Britten’s 100th Anniversary. The title and motivic content of the piece were derived from Britten’s monumental work Nocturnal from 1963. It seemed fitting that since Britten’s masterpiece was inspired by John Dowland’s great song, Come Heavy Sleep, I should in turn find my musical inspiration in the gestures and harmonic language of the Nocturnal.

The Bells | wind quintet by Frank A. Wallace

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The Bells (for wind quintet)
by Frank A. Wallace

three fantasies for wind quintet; PARTS INCLUDED
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Duration: 11 minutes; 20 pages

Instrumentation: wind quintet

Difficulty level: moderate concert level

Dedicated to: Thomas Schuttenhelm, Norbert Dams and Marek Pasieczny

Written: fall, 2010 for solo guitar; arranged for wind quintet September 2013

Recording: as guitar solo: on the 2014 CD Elemental by Frank A. Wallace, Gyre, April 2014.

All Gyre compositions are ASCAP
Copyright ©2013 Frank A. Wallace
Cover photography and design by Nancy Knowles
All rights reserved.


These are midi renditions from the Finale Garritan Personal Orchestra

This is the second fantasy as a solo guitar version

Since the day I walked into San Francisco Conservatory of Music, I was challenged to become a melodist. That’s a fancy way of saying that I was forced to take voice lessons in order to make it through sight-singing class – yes, my voice was that bad. Actually I was extremely shy in high school and had never dared sing and mostly mumbled in public (and, of course, with my parents!)

Skipping forward a few decades, I have had the desire to “arrange” several of my guitar solos for string quartet or other sustaining instruments. Having sung in choirs and small ensembles certainly effects some of my composition. And so it seemed like a natural to “realize” those natural voices in The Bells. It is quite a revelation to hear a four or five note chord that is simple a “chord” on the guitar suddenly be screaming out with the support of five sets of lungs blowing into such a variety of wood and metal.

These are my original notes for the songs.
d’Orleans The round Orleans, Beaujancy is woven into a spacious fabric of dissonant chords, melody pealing high above in harmonics. I re-discovered this piece after it lay dormant for over a year, having totally forgotten this little “experiment” in dissonant chord structures. I was pleased to find how much sonority was possible. The major 7th interval is used repeatedly and creates it’s own beating vibrato.

d’Angelus I was honored to be asked by Norbert Dams to write a piece for his 60th year in which he plans to do 60 concerts around the world. I had composed d’Orleans on a whim two years before and had had the thought that I wanted to write more “impressionistic” pieces in this vein. Norbert’s piece uses a series of notes generated by his name and the name of his publishing house, Daminus: FGBBEBC DAEC DAEAFEC and a chromatic variation A#BDA#C#DE CAAD# CAAFA#FD#.

In the well The third piece, written for Marek Pasieczny, is the most complicated: major 7th intervals, note sets determined by Marek’s name, and an unusual version of the round “Ding dong bell, pussy is in the well” that I learned years ago from a wonderful family of singers, George and Lucy Semler.

Black Falcon | by Frank A. Wallace

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Black Falcon
by Frank A. Wallace

guitar solo
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Duration: 9 minutes; 7 pages

Skill level: large stretches and fast scales

Written: March, 2013, for Edel Muñoz

Instrumentation: classical guitar solo

Recording: on Elemental CD by Frank Wallace for Gyre, 2014; and a single FLAC file also by Frank Wallace on Gyre

All Gyre compositions are ASCAP
Copyright ©2013 Frank A. Wallace
Cover photography and design by Nancy Knowles
All rights reserved.

Black Falcon is a guitar solo written for Cuban guitarist Edel Muñoz, who I first met at the 2011 St. Joseph Guitar Festival. Edel had returned to St. Joseph to perform his competition winner’s concert. We met again at Classical Minds in Houston in June 2012 at which point we got to hear each others’ concerts. Edel is one of the most suave and subtle yet powerful players I have ever heard. I was thrilled that he asked me to write a piece for him.

At the time of composition I generally used various techniques for generating musical ideas developed over the previous years. But I tossed those ideas out the door and wrote from pure inspiration. The result is my first piece that uses the octatonic, or diminished scale. It alternates between dramatic chordal outbursts and flowing bass melodies. Black Falcon is in two sections: Larghissimo in 4/2 and Allegro in 12/8. This is a pattern I have used in several solo works and one duo that I call my Raptor Series.

Night Owl

Night Owl
by Frank A. Wallace

for mandolin solo
PUBLISHED AND SOLD BY TREKEL EDTIONS

Duration: 7:20 minutes; 5 pages

Difficulty level: Advanced, including “a la guitarra” technique

Instrumentation: solo mandolin

Written: December, 2012; for Annika Hinsche

Commissioned by: Fabian Hinsche

World premiere: September 22, 2013 at North Meadow Concerts in Hampton, CT by Annika Hinsche

Recording: by Annika Hinsche on Gyre; Gargoyles released May 2014
All Gyre compositions are ASCAP.

All Gyre Publications are ASCAP
Copyright ©2013 Frank A. Wallace
Cover photography and design by Nancy Knowles
All rights reserved.

Annika Hinsche and composer Frank Wallace

Annika and Frank

Night Owl was written as a Christmas present from Fabian to Annika Hinsche in 2012. The request to me was made at our final dinner after 8 days of recording in the summer of 2012 in Wuppertal, Germany.

The name was simply an inspiration after I wrote the piece, but Annika identified greatly with the sentiment of being a “night owl” herself. To me the bird represented mystery and power, appropriate to the immense talent and musicality of Annika. I had in my ear the incredibly powerful and haunting sounds of “night owls” that we hear irregularly, but memorably, every summer at our country home in New Hampshire.

Happily, three pieces have followed creating my “raptor” period as a composer. Each follows a binary form of Adagio / Presto and are expressive and virtuosic in nature: Blue Heron for Robert Margo, mandolin; Black Falcon for Edel Muñoz, guitar; and White Albatross for Fabian Hinsche, guitar. I thank Night Owl and Annika for the inspiration that gave rise to all four pieces.

Copyright ©2013 Frank A. Wallace
Cover photography and design by Nancy Knowles
All rights reserved.

This is a selection of mandolin music by Frank Wallace including Annika Hinsche’s performance of Night Owl from the CD Gargoyles.

like black snow (trio) | for voice, clarinet and guitar by Frank A. Wallace

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like black snow (trio)
by Frank A. Wallace

four songs for alto voice, clarinet and guitar, op. 70b
PARTS INCLUDED; see original voice and guitar version here, like black snow (duo); also in a version for or liuto cantabile in place of clarinet – please write for information.
SUGGESTED DONATION: #14.00

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Alternate version: like black snow duo

Duration: 11:20 minutes; 15 pages

Instrumentation: alto voice, clarinet and guitar

Difficulty level: medium

Written: August 11-15, 2012, Lauda/Würzburg, Germany for Roland Seiler and expanded and arranged for the Asteria Ensemble in Antrim, NH, August 1-5, 2013

World Premier: of the trio version was done in October 2017 by Henriette Feith, soprano Levan Tskhadadze, clarinet Izhar Elias, guitar at Mariënhof, Amersfoort, The Netherlands

All Gyre compositions are ASCAP
Copyright ©2012 Frank A. Wallace
Cover photography and design by Nancy Knowles
All rights reserved.

World Premier: of the trio version was done in October 2017 by Henriette Feith, soprano Levan Tskhadadze, clarinet Izhar Elias, guitar at Mariënhof, Amersfoort, The Netherlands


The “duo” verson:

Composed August 11-15, 2012 in Lauda and Würzburg, Germany, and arranged and expanded in August 2013 for the Asteria Ensemble of Holland, like black snow is a short song cycle with interludes. The original three poems by my son Nathan G. Wallace (Gus), have adorned our refrigerator since he composed them with “fridge magnets” several years ago. Given that I accompany myself as a singer, these poems begged me to try a form that I had never used. Each poem is preceded by a lengthy introduction, virtually a guitar solo in between each song. After Gus heard my first rendition with clarinet representing the voice in a midi file, he was inspired to write a fourth poem with the request that it include a clarinet part with the voice.

Ferdinand Binnendijk on the Liuto cantabile

Ferdinand Binnendijk of
Ensemble Asteria
on the Liuto cantabile

It was not until I heard the new CD of Ensemble Asteria that I decided to complete the project for them. So the clarinet became a liuto cantablile and the full form became four songs with liuto or clarinet and guitar accompaniments. Both versions were created simultaneously, but sbsequent revisions have only been done for clarinet, please write if you wish to see the liuto version.

Gyre Publications
Copyright ©2012 Frank A. Wallace
Cover photography and design by Nancy Knowles
All rights reserved.

sad he shivers
like black snow
watch plant and flower
come to life
this I always know

stand child
fly before morning
wander above the wood
happy wild cry
but every sound is dead
don’t ask how

the night a smile
purple water
I fall small
laugh
look moon a cloud

cold tendrils thrive
after ancient dusk
quiet and lonely sanctuary
beneath dark sun
I wander through
the deep

– Nathan G. Wallace

Father Said: EP | performed by Frank Wallace

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Father Said:
written and performed by Frank A. Wallace

sixteen songs for medium voice and guitar, op. 28
Set to wise and humorous poems about early American life on the prairie by the composer’s grandfather
SUGGESTED DONATION FOR MP3s: $5

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Recorded: 2004, released in 2012

Lyrics: poetry by Frank C. Wallace (1888-1951); Father Said: (date unknown)

Written: 12/30/2002

Duration: 21 minutes

Instrumentation: baritone (medium voice) and 1997 Traphagen guitar

Vocal range: G2 – F#4

All Gyre compositions are ASCAP
Copyright ©2007 Frank A. Wallace
Cover photography and design by Nancy Knowles
All rights reserved.

Also available at CDBaby.com or iTunes

A poetic reminiscence by Wallace’s grandfather on his father and childhood on the wild plains of Texas in the 1890’s, Father Said: is an important contribution both to American folk history and to the literature for voice and classical guitar by a leading composer in the medium. It is a collaboration spanning three centuries: a powerful combination of the pioneer wisdom and wit of Wallace’s great-grandfather, pioneer Joel Sylvanus Wallace (b. c.1845), as remembered in both the elegant poetry of grandfather Frank C. Wallace (b. Chico, Texas, 1888) and the compelling composition of the grandson (Frank A Wallace, b. Houston, 1952).

An extraordinary image of early American life and its connection to nature, the cycle is dedicated to Wallace’s father, Earl Wallace (b. 1917, Waco), who only met great-grandfather Joel once or twice as a child, remembering an old man with a long white beard once knocking on the door in Waco, Texas. The stars / May fall, but look again and you will see / The fixed stars shining on as if to shame / Our fears. So the saga begins with the setting of the great outdoors that pervades the piece. It continues We threaded tangled trails that wound the brakes / And creeks in sleaves of endless turns and twists. / When one is lost, the right turn seems the wrong.

Father Said: has a marvelous structure, as set out by the poet, in which short triptychs of wise sayings come between longer stories of childhood scenes. Father, Mother, Brother and Aunt Tabitha all inhabit the 21 minutes of song in which Father muses, Shall I / Fret at the summer sun when it distills / The nectars in the lush Elberta peach / For me? and ponders The spears / Of pungent odor from the wild horse-mint / Have wounded me with poisoned tips until / I drowse. His stout independence proclaims in Ingenuity, He found no shade, but made his own, / So shade and shine he had together; / He turned his back to break the sun, / Or face it, so to change his weather.

The musical settings range from jazzy to whimsical to poignant. In this delightfully through-composed series of vignettes, baritone/composer Wallace has succeeded in creating melodies that have the grace of 19th century song, the perfect vessel for the humor and pathos of his grandfather’s 20th century verse.

Download Father Said: the complete poems from the song-cycle. Texts are also attached to the MP3s. Here is a sample from the beginning.

FATHER SAID:
By Frank C. Wallace, 1887-1951
“to my father Joel Sylvanus Wallace” 

Selections for songs by Frank A. Wallace, b. 1952

Preface:
DEFEATING DEATH
My great-grandfather seemed so far remote.
Too vague to fancy him a life-like man.
He was some mystic figure, always old,
And never young, or given to the ways
Of life as you and I, until at length
My Father pointed out a huge pecan,
Which he had planted in his passing year
As though he wished to live, defeating Death.

Songs:
The stars
May fall, but look again and you will see
The fixed stars shining on as if to shame
Our fears.

THE FIXED COURSE
We threaded tangled trails that wound the brakes
And creeks in sleaves of endless turns and twists.
When one is lost the right turn seems the wrong.
But on we trailed, for father was in charge,
And no objection to his course had weight.

A wag remarked, “Our course may run bee true,
But all the stars are out of place tonight.”
And then our goal.
“By daylight,”
Father used
To say, “a woodsman knows his trees;
by night 
He knows the stars.
If he will lay his course
By things as fixed as stars he’ll come out right.”
~
Sand dunes
Are cliffs that gave way to the weaker winds
Which proved more willful than the granite cliffs
Themselves.
~
A cage,
A bowl, a jar that chokes the yellow vine,
A tethered cub depress me more than
Death 
Itself.
~
This side
The river is much like the other side
And yet the farther banks call out to me
To come.

Advice (instrumental) | oboe, bassoon, guitar or piano by Frank A. Wallace

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Advice
by Frank A. Wallace

trio for oboe, bassoon and piano or guitar; All PARTS INCLUDED; also for mezzo-soprano, baritone and guitar
SUGGESTED DONATIOIN: $12.00

Written: May 11, 2006

Duration: 4:15; 8 pages

Difficulty level: Moderate parts, advanced for guitar

Instrumentation: score for oboe, bassoon and piano; guitar part included

Preview: a sample PDF of Advice (instrumental)

All Gyre compositions are ASCAP

Artist Wendy Holmes Noyes is a childhood buddy of my wife Nancy Knowles. She is a fabulous photographer and sent me the poem below out of inspiration. I wrote the song within two weeks after receiving it. Adapting the piece for oboe, bassoon and piano was a natural after hearing the Monadnock Trio. I felt the sound of these winds do “evoke warmth”, “spiral upward” and “tumble down…in birdsong.” It was performed shortly afterwards on a faculty recital at Keene State College in Keene NH.

Advice
Wendy Holmes Noyes

On these cold nights of the equinox

Evoke
warmth ’til it washes over you
and radiates from within.

Accept
that you are a perfect child of god,
not in charge of the plot.

Laugh,
looking everywhere for lightness.
Don’t fret, 
for this corrects nothing.

Relish the black night
as it fills with the rippling song
of the woodcock, returned to dazzle his mate.

Learn from him as he spirals upward,
folds his wings at the peak, and plummets
in a fountain of melody to the dark field below.

Stand near where he lands,
then wanders curiously in circles,
beeping,

And suddenly takes off again with a burst of wings,
whistling as he ascends,
only to tumble down once more in birdsong.

Guard
your open mind. Rise each day into fresh courage.
Embrace the early turn to spring.

Follow
the thaw in the soil; like the killdeer and the robin,
spend the morning listening for worms.

Let meaning take care of itself.

Copyright ©2007 Frank A. Wallace
Cover photography and design by Nancy Knowles
All rights reserved.

A Finale / Garritan midi file of the instrumental version for oboe, bassoon and piano.

Spotlight One

Price: $4.99
GYRE SPOTLIGHT SERIES
an occasional sampler showcasing recent work, unpublished recordings or fine guitars

Spotlight One Frank Wallace, composer: Songs in Spanish
with Nancy Knowles, mezzo-soprano; Nury Ulate, flute; David Mozqueda and Frank Wallace, guitars

Recorded: August, 2011

Lyrics: poetry by Federico Garcia Lorca, Nancy Knowles

Language: Spanish

Duration: 25’50” minutes

Instrumentation: flute, mezzo-soprano, guitar I, guitar II

All Gyre compositions are ASCAP
Copyright ©2011 Frank A. Wallace
Cover photography and design by Nancy Knowles
All rights reserved.

Spotlight One features three songs in Spanish by Frank Wallace along with a solo guitar piece that was inspired by a poem by Pablo Neruda. Epitafio is heard here in its first recording done in Toluca Mexico by fabulous musician Pablo Garibay. See the video Pablo made about making this recording below. The other pieces are from earlier Gyre recordings as noted. Click on titles to go to sheet music pages.

from The Great Deep
2007 Mi Jardín de Calla (Nancy Knowles)
for mezzo-soprano, guitar
Nancy Knowles, mezzo-soprano, Frank Wallace, guitar

2010 Ovejita (Federico García Lorca)
for mezzo-soprano, guitar
Nancy Knowles, mezzo-soprano, Frank Wallace, guitar

Premiere recording
2010 Epitafio a un Pájaro (Federico García Lorca)
for flute, mezzo-soprano, two guitars
Nancy Knowles, mezzo-soprano, NuryUlate, flute, David Mozqueda, Frank Wallace, guitars

from Woman of the Water
2003 Débil del Alba
for guitar solo
Frank Wallace, guitar

The Spotlight Series is intended to provide our customers with some short samples of different aspects of our work. Some will focus on the instrument (one of historical significance, for example), others on the style, yet others will be releases of “incomplete” CDs or recordings that never found a home on a larger CD program.

Gyre Spotlight One - Frank Wallace Spanish songs

Click here to view Gyre Spotlight One Texts and Translations as well as the back of the CD.

Epitafio a un Pájaro was recorded August 10, 2011 by Pablo Garibay at the Rancho San Miguel Zacango in Toluca, Mexico. Its debut was March 25, 2011 in Concord NH with flutist Jennifer Yeaton-Parris and guitarist José Lezcano. All other pieces were recorded by Frank Wallace at the Hillsborough Center NH Congregational Church. We are grateful to the New Hampshire Council on the Arts, Rancho San Miguel Zacango, Cuerdas y Canto Festival, David Blair and Mose Olenik of the Mariposa Museum and the many private donors who made possible the debut of Epitafio and this recording. And as always, we thank the members of the Hillsborough Center NH Congregational Church for their ongoing support of our work.

CD cover: metal sculpture by Adam Wallace, photography/design by Nancy Knowles
© 2011 Gyre Music all rights reserved

Copyright ©2011 Frank A. Wallace
Cover photography and design by Nancy Knowles
All rights reserved.

Song of Albin EP

Price: $4.99
by Frank A. Wallace
suite in G minor for solo guitar
six movements honoring Wallace’s Scottish ancestors

Recorded: by Frank Wallace in 2004

Instrument: classical guitar by Ignacio Fleta, 1964

Duration: 18 minutes

Written: summer, 2003

Printed Edition: go to sheet music

Six movements in honor of my Scottish ancestors; some Celtic influence, but also a brief session of 12-tone music in the final movement to heighten the tension of the conclusion. David Isaacs describes the pieces in his Sept. 2011 review in Soundboard (read complete review): “These are rich, intricate concert works that would work well as a set or individually. Embedded within these works are fascinating, dense harmonies; complex contrapuntal textures; several extensive shifts; and some challenging slur techniques…In addition to the wonderful music contained on these pages is the beautiful physical presentation that comes from GYRE. An original piece of artwork, often a photograph from Wallace’s wife Nancy Knowles, graces each cover, the music is well-organized, it is easy to read, and contains plenty of essential left hand fingerings.” David Isaacs.

“The set begins with “Reviresco” where the simple, lilting, rhythm gradually gives way to intricate rhythmic sequences and scale passages as it passes through 7 different time signatures. “My Trust” introduces the slur technique in which the second note of a descending slur is accompanied by another plucked note. This technique takes some advanced hand and finger independence and is not easily accomplished at a rapid tempo. This second movement will push the player’s interpretive chops to new heights as it weaves long shifts, rhythmic schemes, slurs, and modern harmony around gorgeous melodic lines. In the third movement, “The Glen of Ellerslie,” Wallace develops a three-note motif over rhythmic displacement, octave displacements, adds harmony at varied times to the beginning, middle, or end of the motif, creates counterpoint lines, and transcends the fretboard in the process. “Birling” is the simplest and shortest movement in the set and a magnificent piece to introduce a young player to Wallace’s beautiful sense of melody while giving a player who takes on the entire suite a breath to relax. The fifth movement, “Cuthon,” maintains a fairly constant rhythmic theme throughout while adding drama through harmony and the use of specific single strings for widely spaced melodies. “Red Lion” concludes the suite with quintuplet and sextuplet arpeggios, no time signature, and a breadth of atonal harmony with resolution in the final two bars.

Gyre Publications
Copyright ©2001 Frank A. Wallace
Cover photography and design by Nancy Knowles
All rights reserved.

Advice (vocal) | for mezzo, baritone, guitar by Frank A. Wallace

Free Download
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Advice
by Frank A. Wallace

trio for mezzo-soprano, baritone and guitar; PARTS INCLUDED; also arranged for oboe, bassoon and piano
SUGGESTED DONATION: $10.00

Become a Patron!

Written: May 11, 2006

Lyrics: poetry by Wendy Holmes Noyes

Language: English

Duration: 5 minutes; 7 pages

Difficulty level: Moderate voice parts, advanced for guitar

Instrumentation: mezzo-soprano, baritone, guitar

All Gyre compositions are ASCAP
Copyright ©2007 Frank A. Wallace
Cover photography and design by Nancy Knowles
All rights reserved.

Artist Wendy Holmes Noyes is a childhood buddy of my wife Nancy Knowles. She is a fabulous photographer and sent me this poem out of inspiration. I wrote the song within two weeks after receiving it.

A Finale / Garritan midi file of the instrumental version for oboe, bassoon and piano.

poetry by artist and friend Wendy Holmes Noyes

Advice

On these cold nights of the equinox

Evoke
warmth ’til it washes over you
and radiates from within.

Accept
that you are a perfect child of god,
not in charge of the plot.

Laugh,
looking everywhere for lightness.
Don’t fret, ?for this corrects nothing.

Relish the black night
as it fills with the rippling song
of the woodcock, returned to dazzle his mate.

Learn from him as he spirals upward,
folds his wings at the peak, and plummets
in a fountain of melody to the dark field below.

Stand near where he lands,
then wanders curiously in circles,
beeping,

And suddenly takes off again with a burst of wings,
whistling as he ascends,
only to tumble down once more in birdsong.

Guard
your open mind. Rise each day into fresh courage.
Embrace the early turn to spring.

Follow
the thaw in the soil; like the killdeer and the robin,
spend the morning listening for worms.

Let meaning take care of itself.