Musical Biography of James V. Signorile |
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Musical Biography of James V. Signorile |
At Sheet Music Plus
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Complete list of works by Opus Number
Musical Performances History
Reviews and articles
Recordings
NEW BLUES Guitar section
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These music files are in MP3 format.
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NEW RECORDINGS of my compositions From 2004 and 2005
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Breathless (Flute Quartet), Op. 48. Movements I and II. Performed by the Generations Chamber Ensemble |
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I Saw a Light (A Christmas Carol), Op. 31. For Alto voice and piano. Performed by David W Solomons |
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A Concerto in one movement for Solo Trombone and Symphony Orchestra.
Op. 30, written in 1969. This is a recording of a live performance by the Colby College Symphony Orchestra, with Don Appert, Solo Trombone, and conducted by me on March 24, 1974. This is a piece I wrote and dedicated to a High School friend of mine, Dr. Don Appert. He was, and is, an extraordinary trombonist, and he inspired me to compose this piece. Essay was first performed by the Ridgewood (NJ) High School Symphony Orchestra in 1970, soon after I completed it. Don Appert played the Solo Trombone part, and it was conducted by John Lochner, our renowned Band/Orchestra director. The performance you are hearing occurred 4 years later, on March 24, 1974 at Colby College, Waterville, Maine, where I was a senior majoring in music. This recording features the Colby College Symphony Orchestra, Don Appert again on Solo Trombone (I was fortunate enough to be able to convince him to fly up to Maine for the occasion), and I had the honor of conducting this performance of my composition. I dedicate this composition to Donald L. Appert. |
At Sheet Music Plus
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Piano Concerto No. 1, Op. 53. Movement I - Allegro Moderato.
Commissioned by Carson P. Cooman 1999. MIDI Rendering by Steve Mitchell of The CMR Players. Movements: I - Allegro Moderato; II - Andante; III- Allegro |
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Piano Concerto No. 1, Op. 53. Movement II - Andante.
Commissioned by Carson P. Cooman 1999. MIDI Rendering by Steve Mitchell of The CMR Players. Movements: I - Allegro Moderato; II - Andante; III- Allegro |
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Piano Concerto No. 1, Op. 53. Movement III - Allegro.
Commissioned by Carson P. Cooman 1999. MIDI Rendering by Steve Mitchell of The CMR Players. Movements: I - Allegro Moderato; II - Andante; III- Allegro |
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Symphony No. 1 for Organ, Op. 52. Movement I - Prelude.
Commissioned by Carson P. Cooman 1999. Recorded via MIDI-enabled pipe organ by Jonathan Orwig at : http://www.mp3.com/orwig Movements: I - Prelude; II - Scherzo; III- Pastorale; IV - Toccata Editing/Sequencing in Finale and Cakewalk Mics: 2 large-diaphragm Alesis AM11 Mixing console: Behringer ultra-low noise 6 ch Recorded on a Sony mini-disc, edited in Sound Forge 5 |
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Symphony No. 1 for Organ, Op. 52. Movement I - Prelude.
Commissioned by Carson P. Cooman 1999. MIDI Rendering by Philip Goddard. Movements: I - Prelude; II - Scherzo; III- Pastorale; IV - Toccata |
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Symphony No. 1 for Organ, Op. 52. Movement II - Scherzo.
Commissioned by Carson P. Cooman 1999. MIDI Rendering by Philip Goddard. Movements: I - Prelude; II - Scherzo; III- Pastorale; IV - Toccata |
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Symphony No. 1 for Organ, Op. 52. Movement III - Pastorale.
Commissioned by Carson P. Cooman 1999. MIDI Rendering by Philip Goddard. Movements: I - Prelude; II - Scherzo; III- Pastorale; IV - Toccata |
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Symphony No. 1 for Organ, Op. 52. Movement IV - Toccata.
Commissioned by Carson P. Cooman 1999. MIDI Rendering by Philip Goddard. Movements: I - Prelude; II - Scherzo; III- Pastorale; IV - Toccata |
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A simple hymn for solo Organ in tribute to the life and music of Alan Hovhaness, who passed away June 21 2000
in Seattle, WA.
Commissioned by Carson P. Cooman, 2000. MIDI Rendering by Philip Goddard. "Et in Terra Pax, Op. 56" ('And on Earth, Peace') is a piece I have written in memory of the late Alan Hovhaness, who passed away June 21, 2000 in Seattle, WA. It is a very simple and short piece for Organ. Hovhaness meant a lot to me and his music had a large influence on my own. I felt I at least owed him this rememberance, and when Carson P. Cooman asked me to write a short organ work for a Hovhaness memorial program, I was grateful for the opportunity. This is a Hymn for Hovhaness, and I purposely wanted to keep it simple and touching. Hopefully it will succeed in conveying what Hovhaness meant to me, because this is a tribute to him, and not an attempt to emulate him. Published by Zimbel Press |
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A simple hymn for orchestra in tribute to the life and music of Alan Hovhaness, who passed away June 21, 2000
in Seattle, WA.
Orchestral arrangement and MIDI Rendering by Philip Goddard. "Et in Terra Pax, Op. 56" ('And on Earth, Peace') is a piece I have written in memory of the late Alan Hovhaness, who passed away June 21, 2000 in Seattle, WA. It is a very simple and short piece, originally for Organ, which was lovingly arranged for orchestra by Philip Goddard. Hovhaness meant a lot to me and his music had a large influence on my own. I felt I at least owed him this rememberance. This is a Hymn for Hovhaness, and I purposely wanted to keep it simple and touching. Hopefully it will succeed in conveying what Hovhaness meant to me, because this is a tribute to him, and not an attempt to emulate him. |
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Variations on a theme by Thom Heppleston for String Quartet. Op. 55.
MIDI Rendering by Thom Heppleston. The "Heppleston Variations for String Quartet" (Op. 55) is a set of 5 variations on a theme by Thom Heppleston. Thom and I wrote themes for each other, and we each wrote 5 variations on the others theme for String Quartet. This piece is a first for me, since it is the first time I have written a work (other than an arrangement) based on the theme of another composer. It was fun to do and I hope you will also enjoy listening to it! |
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Corona Suite for Piano, Op. 51. Movement I - Allemande.
For Solo Piano - Commissioned by Carson P. Cooman 1998. MIDI Rendering by Thom Heppleston. First of four movements in a traditional Baroque dance suite. Corona Suite for Piano, Op. 51 (1998) is a composing first for me in two ways. It is my first commissioned musical composition, and it is my first major venture into solo piano writing. I have written piano solos in the past, but they were always temporary forms that quickly became transformed into larger ensemble works, sometimes for chamber groups, more often for symphony orchestra. This time I set out to write a piano solo with the full knowledge that piano was the final goal, and it was, for me, an intensely interesting and educational experience. I have had training as a concert pianist that greatly aided me in composing this work, however I have previously always conceived my new musical compositions in a more symphonic venue, so this was also an exercise in new ways of thinking about the art of composition in broader terms. As a piano solo was a new form of composing for me, I turned to an old and familiar setting in choosing the form in which to set the work, the Baroque Dance Suite. The Corona Suite uses the "classical" suite formulation of Allemande, Courante, Sarabande and Gigue, with the inclusion of a Rondo form in the Allemande. I have always been extremely fond of Baroque music, and I felt it was the perfect vehicle with which to embark on my adventure of composing my first major piano solo. Although the form is classical Baroque, the content is more contemporary, following the basic dance forms, but infusing them with modern rhythmic, melodic and harmonic flavorings, bringing forth, it is hoped, the best of the past and the present. I dedicate this piece to Mary E. Signorile Movements: I - Allemande En Rondo; II - Courante; III - Sarabande; IV - Gigue |
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Corona Suite for Piano, Op. 51. Movement II - Courante.
For Solo Piano - Commissioned by Carson P. Cooman 1998. MIDI Rendering by Thom Heppleston. Second of four movements in a traditional Baroque dance suite. Movements: I - Allemande En Rondo; II - Courante; III - Sarabande; IV - Gigue |
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Corona Suite for Piano, Op. 51. Movement III - Sarabande.
For Solo Piano - Commissioned by Carson P. Cooman 1998. MIDI Rendering by Thom Heppleston. Third of four movements in a traditional Baroque dance suite. Movements: I - Allemande En Rondo; II - Courante; III - Sarabande; IV - Gigue |
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Corona Suite for Piano, Op. 51. Movement IV - Gigue.
For Solo Piano - Commissioned by Carson P. Cooman 1998. MIDI Rendering by Thom Heppleston. Last of four movements in a traditional Baroque dance suite. Movements: I - Allemande En Rondo; II - Courante; III - Sarabande; IV - Gigue |
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Gloria I (Gloria in excelsis Deo)
Part of a Mass for SATB Chorus and Orchestra. This is Part 1 of a large-scale work in 3 movements taken from the Mass. It is ripe with rich harmonies and entrancing melodies, and is an emotionally intense and yet satisfying expression of spirituality and exaltation. Recording of a MIDI Realization. Op. 33. I composed Gloria in 1970, revised it in 1974, and yet again in 1998. Gloria is part of a Mass, and someday I may be able to incorporate this Gloria into a complete Mass, filling it in, and adding it into the set of Kyrie, Gloria, Credo, Sanctus, Benedictus and Agnus Dei. I am reminded of a saying found in a German opera house: "Bach gave us God's Word, Mozart gave us God's Laughter, Beethoven gave us God's Fire - God gave us Music that we might pray without words." This piece is my prayer. The words are not mine, but the music is my humble attempt to say what I cannot with my own words. I dedicate this composition to my dear Mother and Father, with all my love. Lyrics : Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis. Glory to God in the highest. And on earth peace to men of good will. Parts: I - Gloria in excelsis Deo; II - Laudamus te; III - Quoniam tu solus Sanctus |
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Gloria II (Laudamus te)
Part of a Mass for SATB Chorus and Orchestra. This is Part 2 of a large-scale work in 3 movements taken from the Mass. Recording of a MIDI Realization. Lyrics : Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. We praise thee. We bless thee. We adore thee. We glorify thee. We give thee thanks for thy great glory. Parts: I - Gloria in excelsis Deo; II - Laudamus te; III - Quoniam tu solus Sanctus |
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Gloria III (Quoniam tu solus Sanctus)
Part of a Mass for SATB Chorus and Orchestra. This is Part 3 of a large-scale work in 3 movements taken from the Mass. Recording of a MIDI Realization. Lyrics : Quoniam tu solus Sanctus. Tu solus Dominus. Tu solus Altissimus, Jesu Christe. Cum Sancto Spiritu in gloria Dei Patris. Amen. For thou only art Holy. Thou only art Lord. Thou only, O Jesus Christ, are most high. Together with the Holy Spirit in the glory of God the Father. Amen. Parts: I - Gloria in excelsis Deo; II - Laudamus te; III - Quoniam tu solus Sanctus |
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For Brass Quintet - 2 Bb Trumpets, Horn in F, Trombone, Tuba
A one-movement work for brass quintet, this is a synergistic compilation of diverse themes written over several years that contain a common thread of thought and feeling. It is both playful and serene. Twilight Dream Op. 47, is an original composition for Brass Quintet that I wrote in 1989. This piece was originally composed and sequenced as a MIDI composition with "Personal Composer" by Jim Miller utilizing a Roland LAPC-1 Sound Card. It evolved as a compilation of several musical themes that I had written over the years that were yearning for a home. Fortunately, those themes turned out to contain a common thread of thought and feeling and so came together into a natural synergy. This version is a recording of a live performance by the Ramapo Wind Symphony Brass Ensemble at a November 17, 1990 concert. My thanks to Peter Del Vecchio, conductor of the Ramapo Wind Symphony, and lead trumpet of the Brass Ensemble, for giving me the opportunity to have this piece performed at that concert. The members of the Brass Ensemble did a phenomenal job with only one rehearsal possible before the concert! I dedicate this composition to David H. Bailey. |
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Breathless (Flute Quartet), Op. 48. Movement I - Prelude.
A Sonatina for Flute Quartet in 3 Movements. MIDI Rendering by Russell Karloff. This piece is in 3 movements : Prelude, Passages and Legacy. This is "Prelude", the first of the 3 movements. The origin of the title can be found within the music. There are a number of basic themes and variations explored in a musical journey from the simple to the sublime. This is an original composition for Flute Quartet that I wrote in 1990. This piece was originally composed and sequenced as a MIDI composition with "Personal Composer" by Jim Miller utilizing a Roland LAPC-1 Sound Card. This movement was performed at Colby College, Waterville Maine by the Colby Flute Choir on December 2, 2003. I have added the recording of that performance to the links on the left. My deepest heartfelt thanks to the Flute Choir for choosing to perform my work! I dedicate this composition to Professor Peter RÈ, Colby College. Movements: I - Prelude; II - Passages; III - Legacy |
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Breathless (Flute Quartet), Op. 48. Movement II - Passages.
A Sonatina for Flute Quartet in 3 Movements. MIDI Rendering by Russell Karloff. This is "Passages", the second of the 3 movements. Movements: I - Prelude; II - Passages; III - Legacy |
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Breathless (Flute Quartet), Op. 48. Movement III - Legacy.
A Sonatina for Flute Quartet in 3 Movements. MIDI Rendering by Russell Karloff. This is "Legacy", the last of the 3 movements. Movements: I - Prelude; II - Passages; III - Legacy |
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Imaginations (for Children), Op. 54. Part I - Suite Dreams
Commissioned by Carson P.Cooman and the Werner Foundation, 1999. Recording of a MIDI Realization. Pianist Carson P. Cooman and the Werner Foundation Announce a New Project for the Recording and Promotion of Piano Works for Young Performers by Contemporary Composers. "Imaginations" (in four parts) is one piece among about a dozen that is part of a project conceived and organized by Carson P. Cooman. Mr. Cooman was awarded a grant by the Werner Foundation for a project based on his belief that there very much needs to be promotion of modern piano repertoire which is aimed at young pianists. The Werner Foundation has given Mr. Cooman funding for the purposes of doing and releasing a CD recording of a variety of modern piano pieces aimed at young performers and then doing a series of lectures, and concert tours, to promote these among music teachers. These pieces are aimed at young performers, the main point being to create interesting and perhaps a _bit_ challenging works for a young performer. Parts: I - Suite Dreams; II - Clouds; III - Contemplations; IV - Snowy Night |
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Imaginations (for Children), Op. 54. Part II - Clouds
Commissioned by Carson P.Cooman and the Werner Foundation, 1999. Recording of a MIDI Realization. Parts: I - Suite Dreams; II - Clouds; III - Contemplations; IV - Snowy Night |
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Imaginations (for Children), Op. 54. Part III - Contemplations
Commissioned by Carson P.Cooman and the Werner Foundation, 1999. Recording of a MIDI Realization. Parts: I - Suite Dreams; II - Clouds; III - Contemplations; IV - Snowy Night |
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Imaginations (for Children), Op. 54. Part IV - Snowy Night
Commissioned by Carson P.Cooman and the Werner Foundation, 1999. Recording of a MIDI Realization. Parts: I - Suite Dreams; II - Clouds; III - Contemplations; IV - Snowy Night |
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Op. 32. For String Quartet - 2 Violins, Viola, Cello
This is a variation on "O Come, O Come, Emmanuel" (Traditional) that I arranged for String Quartet. I first transcribed this piece from a Church Hymnal in 1970. It is based melodically and harmonically on the setting found in the hymnal, with several variations added to amplify and deepen the original material. This is a studio (Sound-On-Sound) recording with myself and Harriet (Dearden) Welther. I didn't have access to a string quartet at the time, so this recording is performed with one violin (playing the 2 violin and viola parts), and a piano (substituting for the cello). My dear friend Harriet (Dearden) Welther played the 3 string parts, and I played the piano part. I used a reel-to-reel tape recorder with Sound-On-Sound capability to enable us to record the 1st violin and cello (piano) parts first, and then Harriet played the 2nd violin and viola parts over the previous recordings. Harriet was, and is, a first class violinist, and, other than the fact that it really doesn't sound like a cello, the piano part was an acceptable substitute. I dedicate this composition to Harriet (Dearden) Welther. |
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Op. 31, for Alto voice and piano. Sung by Harriet (Dearden) Welther with myself on piano.
I Saw a Light is an original composition for Solo Alto Voice and Piano that I composed in 1970 as a Christmas Carol. The words are traditional, found in a long since forgotten book. The setting is lyrical, flowing and harmonically alluring. This performance is a studio recording, with vocals by my dear friend Harriet (Dearden) Welther, and myself on the piano. Harriet has a lovely voice which I hope comes through adequately in this audio rendition. I dedicate this composition to Murray B. Colosimo. Lyrics : The other night I saw a light! A star as bright as day! And ever among, a maiden sung "Byby baby, lullay" This virgin clear, who had no peer, Unto her son did say, "I pray thee, son, grant me a boon, To sing byby, lullay." "Let child or man, whoever can, Be merry on this day. And Blessings bring, so I shall sing, 'Byby baby, lullay'" |
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This is a transcription of an excerpt from "Gavotte in D Major (from the 6th Suite for Cello)" by J.S. Bach that
I arranged for Symphony Orchestra, in collaboration with Donald L. Appert.
We transcribed this piece from a Piano Score in 1972, and I conducted it on March 24, 1974 at the Colby College (Waterville, Maine) Symphony Orchestra Spring Concert. This recording is of the live performance at that concert. I dedicate this piece to the late Dr. Ermanno F. Comparetti. |
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Variations on a William Byrd vocal motif for Brass Ensemble. A very stately and harmonically rich work, it served
as the processional at my graduation from Colby College in 1974.
For Brass Ensemble - 3 Bb Trumpets, 2 Horns in F, Trombone, Baritone, Tuba This is a variation on the vocal motif of "Emendemus in Melius" by William Byrd that I arranged for Brass Ensemble. I first transcribed this piece from the original vocal score in 1974. This was played as my College Graduation Processional March, which I proudly marched to with the rest of my graduating class! I received a B.A. in Music from Colby College that day, which made the moment all the more meaningful to me. This is a recording of the premiere performance by the Colby College (Waterville, Maine) Brass Ensemble in June, 1974. I dedicate this composition to Peter Del Vecchio. |
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Op. 28. Transcription and Arrangement of "Petite Camusette" by Josquin des Pres (from the original vocal score) for
Concert Band. This is a recording of a Live Performance by the Ridgewood (NJ) High School Concert Band on March
13, 1970.
I first transcribed this piece from the original vocal score in 1969, and conducted it at two performances. The first was on March 13, 1970 at the Ridgewood (NJ) High School Concert Band Spring Concert, and the second was on March 21, 1974 at the Colby College (Waterville, Maine) Concert Band Spring Concert. This recording is of the live performance at the first concert in 1970. I felt this first performance was both technically and emotionally superior, and chose it over the performance four years later. I dedicate this piece to John W. Lochner. |
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For Bb Clarinet and Trombone. A Studio recording.
Written in collaboration with Donald L. Appert. Elegy for a Clown Op. 29, is an original composition for Trombone and Clarinet that I wrote, in collaboration with Don Appert, in 1969. I was a High School Senior studying music theory, and this was my first (and pretty much only) attempt to compose what I considered to be a piece of modern "twentieth-century" music, with heavy usage of harmonic dissonance and rhythmic and dynamic extremes. I have 2 recordings of this piece. The first was a studio recording made in the summer of 1970, with my friend Don Appert on Trombone (see "Essay for Trombone and Orchestra" for more details about Don) and (the great, and now pretty famous) Murray Colossimo on Bb Clarinet. Mr. Colossimo was our High School (Ridgewood, NJ) Band and Orchestra director that year, and he was also kind enough to serve as a teacher to me on Clarinet and Music Theory in my senior year of High School (1969-70). Don and Murray are two of the finest musicians around. This first studio recording is the selection presented here. The second recording, was a live performance recorded on April 25, 1974 at the Colby College (Waterville, Maine) Student Composition Concert. It featured Gordon Bowie (our College Band director) on Trombone, and myself on Bb Clarinet. But, the recording quality of that performance was poor, and I decided to use the studio version from 4 years earlier instead. I dedicate this composition to Gordon W. Bowie. |
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Op. 49. An original composition created with MIDI synthesizers in 1991. A multimedia soundtrack of
International Themes.
This is an original MIDI composition created by myself and Joe Caterinicchio in the Spring of 1991 while we were both employees of Dubner Computer Systems, Inc. (Paramus, NJ). It was created on a Roland U-220 Sound Module using Master Tracks Pro MIDI sequencing software by Passport Designs, Inc. and a Oberheim Xk MIDI keyboard. The original project this music was intended for was named Pandora, and it was to be a multimedia authoring product, of which this music was to be the first demonstration. The concept was that visually there would be a montage of flags and picture of various countries, and this music (The Pandora Suite) would be a synchronized soundtrack of International Themes that would match the country currently being viewed. The multimedia software we were creating, using ToolBook by Asymetrix Corporation, would synchronize the visual and musical events. The project, unfortunately, was short-lived, but this music came out of it and survived, and for that, I am grateful! Joe and I worked wonderfully as a musical team, and we split up the task of composing original themes that would have the feel and flavor of the country we were representing. All the themes in The Pandora Suite are original, with the exception of the last two (The United States and The European Anthem), which are variations, respectively, on "The Star Spangled Banner" and "The Ode to Joy" theme from the 4th movement of the "Symphony #9 in D Minor. Op. 125" by Ludwig Van Beethoven (who is my musical hero). It should be noted that the United States theme was being arranged at the end of the Gulf War (Operation Desert Storm), just as the first soldiers were returning from the Middle East. The emotion you may feel in that piece reflects the high level of patriotism and emotion that was present in those days. The Countries represented and composer/arranger of each theme for that country are as follows : 1) Pandora Theme - J. Signorile 2) France - J. Caterinicchio 3) England - J. Signorile 4) Spain - J. Caterinicchio 5) Germany - J. Signorile 6) Japan - J. Signorile 7) Italy - J. Caterinicchio 8) United States - "Star Spangled Banner", arranged by J. Caterinicchio and J. Signorile 9) European Anthem - "Ode to Joy" theme from Symphony #9 (4th movement) by L. Van Beethoven. a) Original variation - J. Signorile b) BoDidely variation - J. Caterinicchio and J. Signorile c) Reggae variation - J. Caterinicchio and J. Signorile d) Mod variation - J. Caterinicchio and J. Signorile |
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An improvisational composition for Piano and Guitar. Keith Thomson on piano and Jim Signorile on guitar.
Op. 26. This is an original composition for Piano and Guitar by my good friend Keith Thomson and myself. It was written in 1969, when we were both High School seniors, and we collaborated on several original compositions and arrangements around that time. Years later (1987) I ended up working with Keith again, this time as a Software Engineer, but that is a different story... This performance is a studio recording made with Keith on piano and myself on guitar. Improvisation during the recording was the rule rather than the exception. But not quite to the extent as our very famous 4-hands piano rendition of The Beatles "Ob-La-Di, Ob-La-Da". Our apologies to The Beatles, and anyone else that has heard us do that over the years, but as we always say, Lights, Camera, Money... |
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A one movement Concerto for Trombone and Symphony Orchestra.
Trombone Solo performed by Donald L. Appert. (1970 Performance). Op. 30. This is a concerto in one movement for Solo Trombone and Symphony Orchestra that I wrote in 1969. This is a piece I wrote and dedicated to a high school friend of mine, Don Appert (Dr. Don Appert now!). He was, and is, an extraordinary trombonist, and he inspired me to compose this piece. This is a recording of a rehearsal by the Ridgewood (NJ) High School Symphony Orchestra in 1970, with Don Appert on Solo Trombone, and John Lochner, our renowned Band/Orchestra director, conducting. This piece was publically performanced 4 years later, on March 24, 1974 at Colby College, Waterville, Maine, where I was a senior majoring in music. That performance featured the Colby College Symphony Orchestra, Don Appert again on Solo Trombone (I was fortunate enough to be able to convince him to fly up to Maine for the occasion), and I had the honor of conducting that performance of my composition. I dedicate this composition to Don Appert |
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MIDI Realization of "MARS" from "The Planets" by Gustav Holst.
MIDI realization/rendering by Lorin Swelk. Although I had sequenced this piece back in the summer of 1994, in September 2002 Lorin Swelk contacted me and graciously offered to do a MIDI realization of it. He did this superb rendering in 5 days and for that he will always have my gratitude. |
Jim Signorile at
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