All works are available from the composer
| Concerto-like work features solo guitar with an ensemble
of flute, alto saxophone, euphonium, trombone, marimba, percussion (snare
drum, bell tree, suspended cymbal, wood blocks), violin, cello and bass.
Moderate difficulty for ensemble, difficult guitar part. Single, sectional
movement approximately 10'20"
| First performed Dalhousie University Concerto Night,
January 1998, Joey Tucker, guitar, the ensemble conducted by the composer.
Subsequent performance conducted by Carolyn Davies.
|And with the leaving /Compline
| This large brass ensemble work
was written for the Sewanee Festival Brass, and performed at the close
of the 1995 Sewanee Summer Music Festival. Employing 3 small choirs and
two solo trombones, placed in the front, sides and rear of the church,
as well as two off-stage trumpets, the work was designed to take advantage
of the extreme resonance of St. Luke's Chapel. The work employs polytonality
and a suggestion of the Medieval. A version for slightly smaller resources
was performed at St. Andrew's United Church, Halifax, NS in April 1997,
by Nova Sinfonia, Carolyn Davies conductor. Both versions available.
| Original: 8 trp (6 possible), 6
hrn, 5 trb, 3 tuba
| Smaller: 7 trp (5 possible), 5
hrn, 4 trb, 1 bass trb, 2 tuba
| "A clever mix of fanfare and plainchant in which a simple
melody evolves into an increasingly complex texture as dense with melodic
traffic as a freeway with cars and trucks and busses at rush-hour, Hoffman's
work surrounded the audience with four brass choirs in an impressive blow-out." Stephen Pedersen, The Chronicle Herald, Halifax,
NS April 23, 1997
|Not everyone agrees
| Saxophone quartet incorporating
improvisational as well as notated sections. Moderate difficult. First
performed at Dalhousie University (1995). Approximately 10"
| Audio excerpt performed by Michael Duke, soprano, Steven Yarbro,
alto, John Petit, tenor, Anna Dusdieker, baritone, Indiana University
|Soprano (suitable for tenor also), Double bass and Vibraphone. Text from
the collection Dim Time and History on a Garrison Clock by Halifax
poet Margaret Benjamin Hammer (2002). 13'
|La Barque Mystique
Short, single movement for soprano saxophone and violin inspired by the
Redon painting of the same name. (1993) 2'10"
Program note: The artist Bertrand-Jean
Redon, better known as Odilon, was born April 20, 1840 in Bordeaux, the
son of a planter who had made his fortune in Louisiana and his Creole
wife Marie-Odile. A sickly child, he was entrusted to an elderly uncle,
who raised him in a supposedly haunted mansion on the family estate of
Peyrelebade - a wild, desolate, swampy area in the Médoc region.
This isolated environment inspired the frightful nightmares and bizarre
fantasies that stimulated Redon's imagination for the rest of his life.
The mystic barque which Redon painted more than once was the boat which
carried Mary Magdalene and her sister away to Provence, the foundation
of her legend in France.
|An argumentative fanfare for 2 B flat trumpets (1985)
|And who will fill the void
|Single movement for string orchestra (two bass parts). 7'
|Score available from the Canadian Music Centre
|the sea forever changed
|Single movement for string quartet. An opening section featuring cello
and viola solos accompanied by harmonics leads to a furious middle section
and calm ending. 7'
| Single movement for string quartet, approximately
7', difficult ensemble work. Overall intense and fast paced with a flowing
section featuring the instruments in duets and a short , out of time section.
| Excerpt performed by The
Halifax Chamber Musicians: Anne Rapson, Jennifer Jones, violin; Margot
Aldrich, viola; Shimon Walt, cello; 1997
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Tuesday, May 3, 2005