Orchestral works

“Symphony No. 1”

by David Kenstad

Influenced by Afro-American classical music, especially in the use of the Blues modes, as well as European classical music, this piece presents melodic development throughout with rich and expressive harmonies and rhythms.
Copyright © 2023 David Kenstad Compositions, All Rights Reserved

I. expodevrecap

Exposition, Development, and Recapitulation
The essence of the sonata-allegro form perfected by Joseph Haydn. First, the composer “exposes” the themes, then breaks them down into their components and develops them, morphs them, into changed ideas, and finally presents them again in a recapitulation with a finish.

II. lento

What is dissonance?

The piece presented here for your consideration explores the interval of the half-step, or minor 2nd, long considered to be dissonant when heard as 2 tones simultaneously. At first, the minor 2nd here makes the string section seem to be screaming in pain. Then, it forms the basis of harmony.

III. Toccata and Fugue in E Diminished

Comic Relief, ending with a 5-part Fugue

By the mid-19th century, the 3rd movement of a classical symphony had grown from a minuet to various forms of diversion, including comic relief, and here we have an upbeat scherzo with the orchestra breaking up into little jazz combos, then merging into one 5-part fugue at the end.

IV. Dark

Gettin’ down with it
Dark, somber, melancholy, it includes flute and violin solos, 2 choruses each, in the 12-bar blues format, followed by a 4-subject fugue launched in the ‘cello and contrabass sections. This is Orchestra Noir with a heavy dose of counterpoint.

V. Epilogue

Floating and Dancing
Lush rich harmonies contrasted with playful unexpected rhythms, this is the 5th and final movement of Symphony No. 1 by composer David Kenstad, writing its closing chapter with hints and reminders of the preceding 4 movements. “Epilogue” puts a cap on the piece with both melancholy and playfulness.

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* Pages from I. ExpoDevRecap

* Pages from II. Lento

* Pages from III. Tocatta and Fugue in E Diminished

* Pages from IV. Largo-Dark

*Pages from V. Epilogue

“Permutations for Piano and Orchestra”

by David Kenstad

Development and Variation
This has more of composer, David Kenstad’s rich jazz harmonies with a development section and variations of themes, thus permutations, for piano with orchestral accompaniment. The influence of Afro-American Classical and Latino Classical music is ever-present.

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Copyright ©2022 David Kenstad Compositions All Rights Reserved

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“dawn”

by David Kenstad

“Dawn” is a composition for full orchestra representing a reawakening after more than a 6 month creative drought for the composer. The mood is optimistic, contemplative, and determined, making use of rich harmonies found in both early 20th century European and African-American classical (jazz) music. The initial theme is based on a repeated or sustained tone in one voice while the other voices change, creating a chord progression over a pedal tone. The orchestration includes 2 harps so the harpists might more easily handle key changes. The rhythmic meters are 3/2 and 3/4 throughout, often juxtaposing 3 against 2, sometimes accelerating the tempo, other times slowing down. ©2023 David Kenstad Compositions

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Pages 1.3 from “Dawn”

“rondo for orchestra”

“Rondo for Orchestra” by David Kenstad is an orchestral composition loosely modeled after the classic rondo form. The opening brass and percussion fanfare presents a simple motif with the bass going the opposite direction from the melody. The contrasting theme hints at James P. Johnson’s stride piano. The next theme, using the same motif as the first, shifts to a 5/8 meter, then it’s back to 4/4. Have fun keeping the beat. It’s a bitch to conduct, but really not that hard to perform.

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Copyright ©2022 David Kenstad Compositions All Rights Reserved

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Pages from “Rondo”

“Symphonic Poem N° 1”

by David Kenstad

“Gathering in New Orleans”

Heavily influenced by African-American Classical music, this dramatic and lively concerto for orchestra offers a glimpse into each personality before the party finally goes into full swing, cutting loose like a New Orleans brass band in wild counterpoint over the driving 12-bar blues ostinato of the tuba.

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Copyright ©2022 David Kenstad Compositions All Rights Reserved

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Pages from Symphonic Poem No 1 – “Gathering in New Orleans”

“Symphonic Poem N° 2”

by David Kenstad

“The Ogre”

Imagine children in an enchanted forest as they come upon the cave of the dreaded troll. They tip-toe down for a closer view. He awakens and startles them but they learn he is just lonely and they lead him out of his pit of misery into the light of day.

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Copyright ©2022 David Kenstad Compositions All Rights Reserved

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Pages from Symphonic Poem N° 2 – “The Ogre”

“Symphonic Poem N° 3”

by David Kenstad

“Dance of the Moklins”

Tom-toms, West African Djembe, and Conga drums dominate this playful mischievous piece for orchestra. The title is a reference to the science fiction short story by Murray Leinster, “If You Was A Moklin”.

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Copyright ©2022 David Kenstad Compositions All Rights Reserved

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Sample pages_Symphonic Poem N° 3 – “Dance of the Moklins”

Symphonic Poem N° 4

“The Playground”

By David Kenstad

Marked “Vivante”, the opening section presents playful, jazzy motifs, at least one of which may remind you of a familiar children’s taunt. After about 5 minutes though, this motif is completely transformed in the “Largo” section by the oboe playing a wistful, romantic, nostalgic theme.

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Copyright ©2022 David Kenstad Compositions All Rights Reserved

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Pages from Symphonic Poem N° 4 – “The Playground”

Symphonic Poem N° 5

“Dance of the skeletons”

By David Kenstad

“Dance of the Skeletons” is the 5th symphonic poem for orchestra by American composer, David Kenstad. Published in plenty of time for Halloween 2023, this piece suggests the holiday and presents intricate harmonies, first in sustained chords during the introduction, then in quick succession in the dance section marked “Con Spirito” at first. Its motifs are then developed into various permutations until a sense of urgency arises with an “Accelerando” moving to the final section marked “Agitato”. The influence prevalent throughout the piece is obvious – Jazz, or more accurately described, African-American Classical music, though lacking the main ingredient, Improvisation, which is simulated in the score, demanding virtuosity from the performance.

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Copyright ©2023 David Kenstad Compositions All Rights Reserved

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Pages from Symphonic Poem N° 5 – “Dance of the Skeletons”

“Nocturne N° 1 for Orchestra”

by David Kenstad

“Frantic Search”

An homage to film noir, this tone poem lets you imagine your own dark story in the naked city frantically searching for something or someone.

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Pages 1-2 from Nocturne No. 1 for Orchestra -“Frantic Search”

“Nocturne N° 2 for Orchestra”

by David Kenstad

“The Shooting”

It’s midnight and the city lights are hypnotic – hustle, flirtation, excitement, anticipation. Shots ring out, anguish, sobbing, a heart beat flat lines, and the city resumes its normal pulse as if nothing happened.

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Pages 1.5.6 from Nocturne N° 2 for Orchestra “The Shooting”

“Nocturne N° 3 for Orchestra”

by David Kenstad

“The Blues”

The initial motif in this piece is heard throughout in various permutations. The blues theme is not in the familiar 12-bar form at first, and is answered by a motif of hope carried in by the harp. Quartal harmonies predominate in this piece.

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Sample pages from Nocturne N°3 for Orchestra – “The Blues”

“Dance Suite N° 1”

by David Kenstad

I. “Groovy Funk”

Inspired by the music of James Brown, this is from Kenstad’s Dance Suite N° 1. Simpler than his previous works for orchestra, “Groovy Funk” still contains a modest development section, and the up-beat rhythms and fast pace make significant demands upon the musicians. The orchestration, along with Kenstad’s penchant for quartal harmony, give this 1970s dance genre a different flavor.

II. “Slow Jam”

Picture people dancing a slow dance at your favorite dance hall or night club. It’s a love song without lyrics. “Slow Jam”, the 2nd dance from Kenstad’s “Dance Suite N° 1”, undergoes various transformations, including key changes, but returns to the home key, with a slightly different feel.

III. “Capriccio Jazz Waltz”

The 3rd dance in “Dance Suite N° 1” takes a bright jazz waltz tempo, Vivace, and begins with a striking chord change from open 4ths and 5ths in one chord to a minor triad with a major triad above it in the next one. That harmonic device recurs throughout. The form is rondo-like with the once-only middle theme that takes it into a lilting waltz melody.

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