FOUR SONGS, Opus 6
TO THE LIGHTHOUSE, Opus 16
TRIO FOR ALTO VOICE, VIOLIN & CELLO, Opus 18
FAREWELL & HAIL, Opus 28
THREE PSALMS, Opus 50
THREE AMERICAN CHORUSES, Opus 68
PSALM 104, Opus 73
FRAGMENTS FROM "VEGA", Opus 83
THREE SCORE REFLECTIONS, Opus 84
THERE IS SWEET MUSIC HERE, Opus 93
SIX SONGS FOR SOPRANO, VIOLIN & PIANO, Opus 97
SONGS OF REMEMBRANCE, Opus 100
INFINITE PATIENCE, Opus 106
PSALM 96, Opus 110
THE HALLAM SONGS, Opus 116
THE LINSIN FRAGMENTS, Opus 118
SUMMER INCIDENT, Opus 34
SUITE NO. 2, Opus 46A
FIREWORKS, Opus 48
MUSIC FOR MALLETS & PERCUSSION, Opus 55
CEREMONIAL MUSIC, Opus 82
CONCERTO FOR TWO PIANOS & PERCUSSION, Opus 91
PAEAN, Opus 108
ZENSHO, Opus 130
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Copyright © 1996-2005
Written in 1963, his "Three Psalms" was the first of an annual series of
contemporary works commissioned by the Cecilia Society, which gave the piece
its first performance. The Society specified the psalm used as the text for
the third movement and left the composer free to choose the other two. It also
specified the instrumentation--string orchestra with two trumpets. As a
unifying device the composer chose to repeat some of the musical material of
the first movement in the third.
In Psalm 104 Bavicchi has set the colorful Poetry of the Psalmist to
music ranging from a very subdued and haunting trio of soloists to a
jubilant canonic final chorus in which the full choir, soloists,
instrumentalists and percussion join in clamorus praise of the creator.
Works for large ensembles
"A Summer incident" was composed in 1959 for the Boston Civic Ballet Company,
forunner of the now famous Boston Ballet Company. During this period its
director E. Virginia Williams was beginning to commssion and choreograph new
scores by American composers. Originally composed for winds and percussion,
the cost of an ensemble necesstated a four-hand piano reduction which has
been used in all performances of the ballet.
The work is designed in a series of nine sections to allow varying lengths
of performance, depending on program requirements. The composer was so
intrigued by the final section that ten years later he drew from it much of
the material for the first movement of his Suite for Band, Op. 60, written
specifically for the MIT Concert Band.
Music for Mallets and Percussion was written for the Berklee Percussion Ensemble at
the Berklee College of Music, and was recorded by the MIT Concert Band in 1970. It
is scored for the four principal mallet instruments—xylophone, marimba, vibraphone,
and glockenspiel—as well as a variety of other percussion equipment. The work is
characteristically episodic, rhythmic, and contrapuntal.
Ralph D. Earle has written the following about the piece:
Energy is Bavicchi’s hallmark; here he has infused it in a smooth continuum
from the melodic to the rhythmic. In this percussive context it is probably
easier to recognize that his is horizontal, not vertical music... Scales, not
Chords, modes, not harmonies, are the parts of Bavicchi’s musical speech.
Most recent revision, August, 2005