Jay Vosk, composer

Be the first on your block to perform Happenstance! As the title suggests, Happenstance for oboe solo, came  about merely by chance. There were no preconceived notions of form or style other than the work’s length and a few melodic figures running through my head. In approaching the work, I thought of the oboe less as a musical instrument and  more as a solo personality acting out a bizarre monologue.  The end result of my little experiment is a seven minute piece comprised of five short movements each with its unique character. It is my hope that the work is both fun and challenging to the performer.

A full score is available on request.

Listen to the midi version here:

To Fly Above the Wind  is a work, (around 8 minutes in length), for string quartet. The title of the piece is derived from the poem ‘I Find No Peace’ by the 16th century poet,  Sir Thomas Wyatt.  In this time of regional conflict throughout the world, I felt  a deep desire to express myself in that regard. As a result, It  was my intention to compose a work which is a reflection of Wyatt’s poem of peace. The composition is lyrical and melodic, with extensive periods of interweaving lines. Far from being confrontational, the piece was written to sooth the soul of the listener. You can listen to the midi recording below. A score and set of parts is available on request.

‘Aviana’ for flute solo is my most recent piece. It was my intention to write a work that, hopefully, would pique the interest of the contemporary flutist. It is a piece that is both challenging and idiomatic, with a sprinkling of extended techniques. I believe the composition to be evocative as well, and, if skillfully performed, should appeal to the imagination of the listener.

Ariana is around 5 minutes in length and, as the title suggests, is meant to evoke images of birds of all shapes and sizes filling the sky. 

The entire piece is available on request. You can hear the midi version below:

This ten minute work is in three distinct movements

The first piece is entitled ‘Greasing the Wheel’. Here a jagged series of staccatos depicts a whimsical machine clanking away. Intermittently, these figures include smoother interludes. Our machine continues to sputter along until the well-greased wheel whizzes away, out of sight!

In piece number, (Woebegotten Blues) the music slowly slides along with a series of deep sighs. Just at the point when things slowly slide to a halt, the piece changes gears, moving along with a jazzy groove. Finally, deep sighs return and the blues fade away.

The final piece, (March of the Leafcutter Ants), is in homage of the little creatures who drag bits of leafs long distances to their nests. As are the ants, the music is constant and persistent.

A score and set of parts is available on request.

Take a listen to the midi recording:

Cancion de Cuna is a work written for bassoon quartet.It is, essentially, a series of variations on a Honduran lullaby. The work pays homage to the many people who risked their lives crossing through Mexico on their way to the US in search of a better life.

You will also find a link to a video  of the piece performed by the Luftbassoon Quartet. A set of parts is available on request.

It is believed that there is a correlation between the phases of the moon and one’s state of mind. My Moon Phases for oboe, clarinet and bassoon is a three movement piece; each movement being a  reflection on three of these phases and corresponding moods.

The first movement, New Moon, is introductory in nature and is meant to set the tone for the piece. It is believed that at the onset of the new moon, one should set one’s intentions for the coming lunar year.

The second movement is inspired by a Waxing moon. During  this phase, one is encouraged to be energetic. Here the music moves in that manner yet  with an air of mystery.

The final movement, Waning Crescent, is quiet and reflective in terms of  one’s thoughts and emotions.

A perusal score and parts are available on request

My newly completed Three Pieces for Violin and Cello is now available. The piece is about ten minutes in length and is comprised of three brief movements. In writing this piece I had three objectives: First, it was my intention to compose a work that was as idiomatic as possible while still being artistically appealing. Next, I wanted to challenge myself ( especially in the first movement) to hone my skills in writing counterpoint. Finally, I wanted to present a work that was both dramatic and lyrical in nature.

A score and set of parts is available on request. Finally, a midi realization is found below.

Solitudes for Flute is a set of four etudes. In keeping with the tradition of the genre, each etude explores a different performance technique.

1. Flowing freely– Smooth legato playing and flexible embouchure development.

2. Fleeting, accurate -Staccato study.

3. Moderate, expressive– Clarity of tone and expressiveness.

4. Quick, sprightly– Fluid, concise fingering.

These etudes were written at a time of extreme isolation, when many performing artists were cut off from their audiences (not to mention their main source of revenue.)

Be that as it may, these pieces should now be a kind of celebration as audiences are now returning to the concert and recital halls!

A complete copy of the work is available on request.

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Blue Streak for marimba solo is a playful romp; a cheerful blend of jazz and contemporary classical idioms. Despite the fact that the work is highly structured, it was my intention to have the piece come across as totally improvised. The opening bouncy motive builds and evolves in a variety of ways as I attempt to  explore the various possibilities of the marimba. A full score is available on request.