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ENERGICO! for band or wind ensemble ( begins with a concise, stately section that presents harmonic and rhythmic material that is developed throughout. The festive main body of the work is in an episodic ABA-Coda format and mixes Buss’ unique style of soaring lyricism with crisp, energetic rhythms and colorful harmonies. Energico! was originally written for flute ensemble during the summer of 2008: The Long Island Flute Club with support from The Brannen-Cooper Fund commissioned it in celebration of its 25th anniversary (1984-2009). It was premiered in 2009 by the Professional Flute Choir of the Long Island Flute Club at the National Flute Association Convention in New York City. The flute choir version of the work is available from Brixton Publications. Energico! for band intensifies the energy of the original version by utilizing the full resources of the concert band, including four percussion parts. The timbral palette is expanded accordingly and includes the use of mutes, stopped horn, and other colorful devices. Energico! for band is a sophisticated, yet audience-friendly work. Learn More

with Piano: This beautiful work captures the serenity of musing by the sea. On the preface page to the score is printed the following free verse by the composer. It is suggested that the poem be narrated immediately before the performance and/or printed in the program notes to set the mood for the music: “On the shore of eternity swirling currents of liquid chaos gather for and disperse as foam. As rock wears to sand all dissonance transforms to serenity. Time presses no longer.” ©Brixton Publications Learn More

with Harp: This beautiful work captures the serenity of musing by the sea. On the preface page to the score is printed the following free verse by the composer. It is suggested that the poem be narrated immediately before the performance and/or printed in the program notes to set the mood for the music: “On the shore of eternity swirling currents of liquid chaos gather for and disperse as foam. As rock wears to sand all dissonance transforms to serenity. Time presses no longer.” ©Brixton Publications Learn More

with Harp: This beautiful work captures the serenity of musing by the sea. On the preface page to the score is printed the following free verse by the composer. It is suggested that the poem be narrated immediately before the performance and/or printed in the program notes to set the mood for the music: “On the shore of eternity swirling currents of liquid chaos gather for and disperse as foam. As rock wears to sand all dissonance transforms to serenity. Time presses no longer.” ©Brixton Publications Learn More

with Piano: This beautiful work captures the serenity of musing by the sea. On the preface page to the score is printed the following free verse by the composer. It is suggested that the poem be narrated immediately before the performance and/or printed in the program notes to set the mood for the music: “On the shore of eternity swirling currents of liquid chaos gather for and disperse as foam. As rock wears to sand all dissonance transforms to serenity. Time presses no longer.” ©Brixton Publications Learn More

with Piano: This beautiful work captures the serenity of musing by the sea. On the preface page to the score is printed the following free verse by the composer. It is suggested that the poem be narrated immediately before the performance and/or printed in the program notes to set the mood for the music: “On the shore of eternity swirling currents of liquid chaos gather for and disperse as foam. As rock wears to sand all dissonance transforms to serenity. Time presses no longer.” ©Brixton Publications Learn More

Cadenzas and Interludes #2 for brass quartet by Howard J. Buss may be performed by a standard brass quartet, or a quartet consisting of a Bb cornet, Eb tenor horn, Bb baritone (T.C.) and Bb euphonium (T.C.), or for a quartet derived from these two groups. The cornet player (or trumpet 1) has the option to double on the Flügelhorn between letters K and M.

During this composition each player performs a cadenza. Although the cadenzas are written out, the players may perform what is notated or may take liberties to personalize the music, keeping in mind that it is important that all of the cadenzas should have approximately the same duration.

Although the musical language is sophisticated, this concert work is constructed in a way to make it accessible to general audiences.

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for Trumpet, Horn and Trombone

Enigmatic Triptych for trumpet, horn, and trombone by Howard J. Buss is dedicated to trombonist Dr. Daniel Cherry.  The word “Enigma” is derived from the Greek word ainissesthai, meaning "to speak in riddles." This three-movement brass trio was composed in late 2022 and early 2023, an uncertain time when it appeared that the worst of the Covid-19 pandemic could be behind us. To reveal much more regarding the enigmatic connotations of the work would lessen the intrigue. The titles of the movements, Sanguine, Mystic, and Eccentric, may offer the listener some clues as to the “riddle” behind the music. Enigmatic Triptych received its world premier on March 18, 2024 in the Performing Arts Center of West Chester University of Pennsylvania by Dr. Amy Cherry, trumpet, Dan Cherry trombone; and Elizabeth Pfaffle, horn.

 

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Sonatina of Remembrance for Oboe and Piano is dedicated to oboist, Dr. Henry Grabb. It is tribute to the memory of the victims of Covid-19. This composition was written during 2021 and 2022 at a time when the world was being ravaged by the pandemic. It received its world premier on October 8, 2023 at West Chester University of Pennsylvania by Dr. Grabb and pianist, Lotus Cheng.

1. Remembering You (2’24”)
2. Pensive Interlude (2’)
3. To a Departed Friend  (2’42”)
4. Hope Endures (2’40”)

 

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Twilight Reverie for solo piano by Howard J. Buss was written for Dr. Sarah Masterson during the early months of 2022. She premiered it on September 21, 2023 in the Wiles Chapel at Newberry College in Newberry, South Carolina.

Duration: 7’15”

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Three Contemplations for wind quintet by Howard J. Buss was composed during early 2022 for the University of Central Florida Faculty Wind Quintet.

1. In the Glow of Love (3’58”)
2. Daydreams (4’23”)

III. Amid the Storm (4’)

Total duration is approximately 12’ 21” without pauses.

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Guitar and String Quartet (2 Violins, Viola and Cello)

Dances and Interludes for guitar and string quartet by Howard J. Buss was adapted from the composer’s solo guitar composition of the same name. It features three contrasting, dance-like sections that are preceded with a soulful introduction and separated by developmental interludes. For the dance music, the composer was inspired by styles from three countries: the songo from Cuba, bossa nova from Brazil, and rumba flamenco from Spain. 

Traditionally, the songo combines elements of the folkloric rumba with popular Cuban dance music. The Latin beat of the songo is specifically designed for the drum set. Although drums are not used in this work, the first dance, ala songo, captures the choppy and energetic flavor of the Cuban model.

At first the interlude separating the first two dance sections continues with the vigor of the songo, but gradually its intensity is dialed back to set up the mood for the second dance, ala bossa nova. This section is characterized by the smoother, more relaxed quality of this popular Brazilian style. It gradually gives way to the final dance, ala rumba flamenco. The energetic strumming patterns, colorful effects, percussive interjections with the palm of the hand and fingertips capture the spirit of this exciting Andalusian genre.

Dances and Interludes for guitar and string quartet was premiered in Bethlehem, Pennsylvania on March 26, 2024 by members of the Allentown Symphony Orchestra: John Arnold, guitar; violinists Eliezer Gutman and Inna Eyzerovich; violist Pamela Jacobson; and cellist Hikaru Tamaki.

 

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Violin and Alto Saxophone

Cadenzas and Interludes #1 "Memories from the Isle of Mull" was composed by Howard J. Buss and dedicated to Drs. Rachael and Stephen Fischer. It was inspired by the composer’s visit to the picturesque Isle of Mull in Scotland’s Inner Hebrides. Particularly memorable was a Saturday night Cèilidh* in the island’s capital, Tobermory, which included traditional music from the area. The Scottish musical influences are not direct in Cadenzas and Interludes #1; rather, their spirit is blended with Buss’s style of soaring lyricism with a modern bent.

*Pronounced, Kay-lee. In Gaelic, a Cèilidh is a social gathering featuring music, storytelling, and dance.

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Clarinet, Tenor Saxophone, and Piano; Dedicated to Dr. Barry McGinnis.

I. Evening Zephyrs (2’20”)

II. Midnight Musings (2’12”)

III. Venturing Out (3’26”)

IV. Sounds from the Blue Door (2’45”)

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Baritone Voice and Alto Saxphone

Based on a fable by Aesop (620–564 BCE):

The fables of Aesop often address human foibles in an entertaining and humorous manner. While performing A Middle-aged Man and His Two Mistresses the vocalist is encouraged to create a lighthearted, playful atmosphere.

Duration: 6’50”

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Bassoon, Viola, and Cello

Spring Reverie was composed during the spring of 2022 for Bassoonist Christopher Jewell by Howard J. Buss. This lyrical work showcases the beautiful sonority of the chamber ensemble. It was inspired by the glorious appearance of lush foliage on trees after a long winter. The character of the music is meditative, reflective, and at times conveys a hint of reverence. Spring Reverie received its world premier on March 16, 2023 in the Millennium Theatre of the Kennedy Center in Washington, D.C. by members of the Kennedy Center Opera Orchestra.

Duration: 10’30

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Island of Enchantment “5 Vignettes from Puerto Rico” for Flute, Clarinet, Horn, Bassoon and Piano by Howard J. Buss was written during the summer of 2022 for cCarinetist Kathleen Jones and the 40th Anniversary of Camerata Caribe of San Juan Puerto Rico. An English Horn may be used as a substitute for the Horn. Camerata Caribe premiered the work on February 5 2023 in San Juan Puerto Rico. The five movements with their respective durations are:

I. Sunrise Paints the Land (2’16”)

II. To the Shore “Arecibo” (2’10”)

III. Glowing Water “La Parguera” (2’14”)

IV. The Rain Forest “El Yunque” (2’10”)

V. Mongoosian Intrigues (2’35”)

 

Duration: 11’25” (without pauses)

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Suite Amici for Flute/Alto Flute and Oboe/English Horn by Howard J. Buss was composed for Amici Musicale of the University of South Florida in Tampa: Drs. Francesca Arnone Flutes and Amy Collins Oboe/English horn:

I. Prelude (2’00”)

II. First Encounter (2’00”)

III. Romance (2’31”)

IV. Second Encounter (2’00”)

V. Reverie Third Encounter (3’04”)

Total duration: 12’

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with Orchestra; "Concerto for Bassoon" by Howard J. Buss was composed during 2016 and 2017 and is dedicated to Dr. Keith Sweger. This work was created in two versions – one for bassoon and piano, and the other for bassoon and orchestra. Cast in two movements, "Reminiscences" and "Excursions", the music spans a wide range of moods and timbral atmospheres, ranging from lyric tenderness to forceful, aggressive sections: (19’) Grade V-VI.

Can also be played with the Euphonium as the solo instrument.

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Eb Clarinet, 2 Bb Clarinets, and 2 Bass Clarinets, opt. Bb Clarinet part for Bass Clarinet 1 included

Stephen Collins Foster (1826-1864) is often referred to as “the father of American music.” Many of his numerous songs serve as a window into the spirit of America in his day. Others are exquisitely sentimental. Whether or not one approves of the lyrics of his minstrel songs, the enduring beauty and vitality of his melodies cannot be denied.

Like Foster, the arranger of this quintet, Howard J. Buss, was born in Pennsylvania. He now lives in Florida, where the official state song is Foster’s “Old Folks at Home,“ also widely known as “Swanee River.” Buss states, “The State of Florida revised the lyrics of this song in 2008 to take the edge off their minstrel origins, I also believe it was wise to update the words in order to preserve the music. In this instrumental arrangement, the original music is preserved while showcasing it in a more modern musical framework.“

In addition to the six Foster songs in this arrangement, Buss interjects two other well-known melodies. The “First Call” bugle call is woven into the tapestry of Camptown Races” and “The Girl I Left Behind Me” serves as a partner song to “Ring, Ring, the Banjo.”

1. “Old Black Joe” (2’)
2. “Camptown Races” (1’40”)
3. “Beautiful Dreamer”  (2’15”)
4. “Old Folks at Home” also known as “Swanee River” (2’12”)
5. “Ring, Ring the Banjo” – “Oh, Susannah!” (2’41”)

The movements may be played individually or in smaller groupings. The total duration is approximately 11’ without pauses between the movements.

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