Le danse de Oberon

Le Danse de Oberon is a companion piece to Debussy’s “Le Danse de Puck” in his Preludes, Book I. In A Midsummer Night’s Dream, Puck wreaks havoc under the auspices of Oberon, husband to Titania, the queen of the fairies. The horn call motive in Debussy’s prelude alludes to Oberon, and my prelude begins with the same call. Despite his royal stature, Oberon’s anger at his wife leads him to seek revenge. The conflict between Oberon and Titania, two powerful mystical beings, intensifies the weather—changing seasons and unsettling the sea. My dance features a flustered nobility, where stately sounds stumble to give way for more comic sonorities. The work pulls from “Le Danse de Puck” in some of its harmonic vocabulary, rhythms, and the horn-call motif; however, Le Danse de Oberon features a more aggressive, earthy style to contrast Puck’s weightless image.


  • March 17, 2019 by Allison Moline for the 2019 UMKC Piano Studio Co[mp]llaboration
    White Recital Hall, University of Missouri-Kansas City, KCMO.

  • March 31, 2019 by Allison Moline for the 2019 UMKC Piano Studio Co[mp]llaboration
    Kansas City Public Library, KCMO.


Andando begins quickly and gradually decelerates through metric modulations in “Que yo quiero llegar tardando” (“For I want to arrive late”). This movement retreats from the busyness of everyday life into the solitude of nature at sundown.

“Mi corazón ya es remanso” (“My heart is already at peace”) opens in stasis. This lyrical movement first traces a modal melody, then it swells passionately to a strong, yearning climax, depicting the faithful tears the poet leaves behind.

“Dar mi alma a cada grano” (“To give my soul to each grain”) acts as a coda to the work. Melodic notes are decorated with extended runs, freely made from past material. The work ends with a recollection of the second movement, ending in peace.

Andando was written for and premiered by Regina Tanujaya at her recital concert, Poems and Pictures.


Andando, andando.
Que quiero oír cada grano
de la arena que voy pisando.

Dejad atrás los caballos,
que yo quiero llegar tardando
(andando, andando)
dar mi alma a cada grano
de la tierra que voy rozando.

Andando, andando.
¡Qué dulce entrada en mi campo,
noche inmensa que vas bajando!

Mi corazón ya es remanso;
ya soy lo que me está esperando
(andando, andando)
y mi pie parece, cálido,
que me va el corazón besando.

Andando, andando.
¡Que quiero ver el fiel llanto
del camino que voy dejando!

Juan Ramón Jiménez


Walking, walking.
How I want to hear each grain
of the sand I tread upon.

Leave behind the horses,
for I want to arrive late
(walking, walking)
to give my soul to each grain
of the earth my feet graze. 

Walking, walking.
How sweet to enter my field,
An expansive nightfall descends! 

My heart is already at peace;
I am the only one I expect
(walking, walking)
and my foot seems, burning,
as if continually kissing my heart.

Walking, walking
How I want to see the faithful tears
of the path I leave behind!

(Translated by the composer)


  • December 1st, 2018 by Regina Tanujaya for her “Poem and Pictures” Recital at White Recital Hall, University of Kansas City-Missouri, KCMO.

Swallowed Up

 Swallowed Up is a commission from the Barlow Endowment for Music Composition, premiered by PULSE Trio. It develops the homonymic properties of the word “swallow.” The work’s overall three-movement form symbolizes: the digestive action, a series of living things, and the Passion story of Jesus Christ.

“Garden of the Innocent Bird” groups together the oral digestive phase, the bird swallow, and Christ’s suffering in the Garden of Gethsemane. The bird swallow is known as the bird of liberty because it dies when captured. Christ wilfully handed Himself over to be killed to liberate those captive in sin. The oral phase of swallowing food softens food and then bites and grinds it into a bolus. Likewise, in the Garden of Olives, Christ suffered to the point that He bled from every pore just as olives are crushed under extreme pressure for their oil.

“Sting” refers to the pharyngeal phase, the sea swallow, and the crucifixion of Christ. This digestive phase prepares for and then catapults the bolus to the stomach. The sea swallow’s sting is lethal. Christ died being nailed to the Cross He carried, after being falsely judged, beat, and betrayed.

“Vincetoxicum hirundae” relates the esophageal phase to the plant swallow-wort and to the Resurrection.  The Latin title comes from the swallow-wort’s scientific name, referring to its properties to cure snake poison. The swallow-wort, in Dacian culture, was known to open any locked door. The esophageal phase pushes the bolus into the stomach, where nutrients are absorbed and taken throughout the body. Christ’s Resurrection announces that “mortality might be swallowed up of life” (2 Corinthians 5:4). It allowed Christ power over sin, conquering the devil, the biblical serpent.

Interested in performing Swallowed Up?

Perusal Score

Swallowed Up- Score and Parts


strengthen the body/enliven the soul

strengthen the body/enliven the soul

Commissioned by the Atlantic Music Festival, strengthen the body/enliven the soul refers to the scripture: 

"Yea, all things which come of the earth, in the season thereof, are made for the benefit and the use of man, both to please the eye and to gladden the heart; Yea, for food and for raiment, for taste and for smell, to strengthen the body and to enliven the soul." -Doctrine and Covenants 59:18-19.

Interested in performing strengthen the body/enliven the soul?

Perusal Score

strengthen the body/enliven the soul-Score and Parts



Fisherman Ascends

Fisherman Ascends refers to the transfiguration of Peter on the Mount of Transfiguration.  "Remit" expresses the cleansing and purging process from sins found in baptism.  "Sanctify" expresses the change of heart and character through the receiving of the Gift of the Holy Ghost over a lifetime.

Interested in performing Fisherman Ascends?

Contact me for more information.

  • Read by the New York Piano Trio, November 22, 2014.