Kim Diehnelt - Compositions

Solo Works

Impromptu for solo piano Play

“Austere counterpoint of quiet, timeless reflection punctuated by pauses of full, warm harmony. A captured moment - it lingers in the morning air.” 2011.

Postscript for solo cello Play

“From an enthusiastic, bold opening to helpless sarcasm touched by cynicism, the cellist succeeds to find a place of gentle consolation and sings with heartfelt resolve.” 2011.

Wintram for unaccompanied cello Play

Commissioned for cellist Lucie Ticho to pair with the Bach cello suites.

“Robust and soaring. Wintram extends a playful glance to the era of Bach while confronting the chaos and beauty of the present day.” 13'/2015.

Orchestral

Caprio for oboe and strings Play

for solo oboe and string orchestra

“The initial distinct voices of oboe and strings gradually draw each other together into a vibrant weaving of flow and repose.” 9'/2011.

Montegar Play

for solo viola and string orchestra

“Bold, heroic. An ageless temperament bound by a history foretold.” N.B. Seating preference - the Violin 2 section seated behind the Violin 1 section. 11'/2012.

Pogolla for Chamber Orchestra

for chamber orchestra

The title Pogolla names a fictitious character who offers hints of irreverence and absurdity. Originally scored as a trio for oboe, viola, and cello, this chamber orchestra version brings added colors and textures to the punchy gestures. 7'/2011

Striadica: A Symphonic Passage Play

for full orchestra

Commissioned by the Lake Forest Civic Orchestra, IL. “The every-day, reshaped by contingencies. The time-bound path twists through certainty, bewilderment, and fragile reconstruction. Upon release, recognition arrives.” 9’/2017

Chamber Works

Albiedo

for brass Quintet

5'/2013.

Aragonde Play

for flute, violin and cello

9'/2016.

Ariel Play

for string quartet

“The earthy mezzo-voiced violist leads the quartet through the dimensions of anguished imprisonment to the tender release of the creative spirit.” 8'/2011.

Bennington Crossroads Play

for violin, clarinet and piano

“A glimpse of three thoroughfares at their place of juncture. Each locale pulses with its singular character and flair, while creating one distinct crossroad.” 6'/2015.

Bergamo's Ruse

for oboe, violin, cello, and harp

“A mischievous blend of dance infused with a desire to tell of cunning deeds and ambitious dreams." 6'/2012.

Burlingame

for flute, oboe & clarinet

“Opening in a contemplative moment of low, velvet tones, an alternate scenario of amusement intervenes, expands to fullness, and then vanishes. The scene-en-scene dissolves leaving the original moment uninterrupted." 8'/2012.

Caprio for oboe and strings Play

for oboe quartet (oboe, violin, viola, cello)

“The initial distinct voices of oboe and strings gradually draw each other together into a vibrant weaving of flow and repose.” 9'/2011

Duo for oboe and bassoon

for oboe and bassoon

“An elegant dance of unspoken words between oboist and bassoonist. Haunting and graceful.” 2011

Lill'

for flute, viola, bass

"The trio is thrown together in full-spirited play. They capture the impulse of impetuous youth in its brash eagerness to rumble with the world.” Dur. 1 minute

Mourret Play

for clarinet and string trio

Commissioned work. 10’/ 2018

Pogolla

for oboe, viola, and cello

“The trio jostles together in quirky jabs and shifting pulse. Hints of irreverence and absurdity. An intense mid-portion of fluid string notes and warm concord leads to a spunky finish.” 2011

Stile Antico: On a theme of Palestrina Play

for 5-voice cello ensemble

“With inspiration from Palestrina’s ‘Praestet hoc nati genitor.” 11'/2012.

Yarmouth Time Play

for violin and cello

Nor'easter - Latchstring Lullaby - Walkabouts. Written during the 2018 Artist-in-Residence program with the KISMET Foundation, Yarmouth, Maine. 11'/2018

Choral

The Blue Bird Play

For unaccompanied SATTBB choir

Text by Mary Elizabeth Coleridge (1861 - 1907)(L’Oiseau Bleu) 4'/2018

Devouring Time Play

for SATB choir a cappella; text by Shakespeare

"In a contemporary setting of Shakespeare’s Sonnet No. 19 infused with early-music traditions of polyphony, modal tendencies, and tone-painting, the ageless poet celebrates the artist’s triumph over time." 6'/2015

I Had No Time

For unaccompanied SATBBB Choir

A 6-part a cappella setting of the poem "I Had No Time To Hate" by Emily Dickinson (1830 -1886) SATBBB or Men's voices (2CnT, T, 2 Bar, Bass. Dur. 4 -5 minutes. 2020

Senex puerum

For unaccompanied SATB choir

Choral setting of the Latin text of the Antiphon to the Magnificat at First Vespers for the Purification of the Blessed Virgin Mary. 3'/2018

Si vis amari ama Play

for SATB choir a cappella

(If you would be loved, love.) Text by Seneca. 4'/2014.

Handbell Choir

Timeless Grace

for 2-Octave Handbell Choir

Commissioned work. 4'/2018

Arrangements

Bach: Aria: "Bekennen will ich seinen Namen" for oboe quartet

for oboe quartet (oboe, violin, viola, cello)

From Cantata BWV 200, for alto voice, two violins and continuo. “A singing oboe line amongst poignant counterpoint. Subdued beauty and joy as only J.S. Bach can convey."

Bach: Aria “Bekennen will ich seinen Namen”

for oboe and strings

From Cantata BWV 200, for alto voice, two violins and continuo. “A singing oboe line amongst poignant counterpoint. Subdued beauty and joy as only J.S. Bach can convey."

Bach: Goldberg Variations "Aria" (Arr. Diehnelt. For Oboe Quartet Play

for Oboe, violin, viola, cello

This new ensemble arrangement stretches our ear to hear deeply and imaginatively inside this timeless work of art, while paying tribute and illuminating the enduring mastery of Bach’s form, technique, and expressive beauty. 4'/2016

Bach: Prelude from Cello Suite No1

Arranged for Cello Quintet

The familiar Prelude from Bach’s Cello Suite No. 1 arranged for 5 cellos.

Bizet: Carmen

arranger

Version of Bizet's opera for small orchestra and condensed plot. Performed by the American Opera Group, Chicago, IL

Dvorak: Slavonic Dance, Op. 72, No. 8

for String Quartet

“This dance is filled with dramatic pacing and symphonic richness. Heartfelt melodies touched with haunting grace; slightly introspective. A rarely heard, but immensely satisfying work for performers and listeners."

Elgar: Sea Slumber-Song

for Voice and String Quartet

Movement 1 from Elgar's Sea Pictures, op 37. Dur. 5 min. 2016.

Elgar: In Haven (Capri)

for Voice and String Quartet

Movement 2 from Elgar's Sea Pictures, op 37. Dur. 3 min. 2016.

Elgar: Sabbath Morning at Sea

for Voice and String Quartet

Movement 3 from Edward Elgar’s Sea Pictures, Op. 37. Duration: 6 minutes. 2016.

Elgar: Where Corals Lie

for Voice and String Quartet

Movement 4 from Elgar's Sea Pictures, op 37. Dur. 4 min. 2016.

Elgar: The Swimmer

for Voice and String Quartet

Movement 5 from Edward Elgar’s Sea Pictures, Op. 37. Duration: 6 minutes. 2016.

Elgar: Sea Pictures (Arr. Kim Diehnelt for voice and string quartet)

for Voice and String Quartet

This complete string quartet version brings out the full color and texture of the original full-orchestra version. Includes clued staff above showing vocal line and lyrics.

Elgar: Symphony No. 1 "Adagio" (Arr. Diehnelt, for String Quartet) Play

for string quartet

“The moving and exquisite slow movement from Elgar’s First Symphony offers beauty touched with pathos. The intricate writing creates intensities of color and personal reflection.” Dur. 11 min. 2015.

Handel: Del Ciel d’amore

voice and piano

Ariodate’s aria from Handel’s opera Xerxes (Serse) Originally with string accompaniment. For baritone/bass and piano.

Leontovych: Carol of the Bells (Arr. for Orchestra by Kim Diehnelt)

for Orchestra

Based on the choral piece Shchedryk (Carol of the Bells) by Mykola Leontovych

Mendelssohn: Wedding March from A Midsummer Night's Dream

for Unaccompanied Virtuoso Cello

Mendelssohn’s well-known Wedding March arranged for solo performer. This version allows the cellist to present this standard wedding repertoire with flair and robust grace and energy. Dur: 2-3 min. 2015.

Pachelbel: Canon in D for Unaccompanied Virtuoso Cello (Arr. Kim Diehnelt) Play

Pachelbel’s classic work arranged to allow the solo performer to showcase their agility and musicianship while offering a dynamic and refreshing performance of this familiar work. 3-7 mins. 2015.

Schubert: Der Erlkönig, D 328/Op. 1

for woodwind quartet

Schubert’s iconic Erlkönig transcribed for flute, oboe, B-flat clarinet and bassoon. The flute line portrays the narrator; oboe line the father; clarinet line the Erlkönig; bassoon line the young child.

Schubert: Entr’acte from Rosamunde

for woodwind quartet

Schubert’s Entr’acte No. 3 from Rosamunde transcribed for flute, oboe, B-flat clarinet and bassoon. Suitable for concert performance as well as causal events. Beautiful melodies. Duration. 8 mins.

Soler: Sonata No. 18 - for string duo

for violin and cello

The sonata, originally written for the keyboard, offers eloquent rhetorical gestures and refreshing changes in colors. This arrangement is transposed down a minor third from the original version in the Dorian Mode.

Soler: Sonata No. 18 - for wind duo

for oboe and bassoon

Originally written for the keyboard, the work offers eloquent rhetorical gestures and refreshing changes in colors. Soler was a progressive theorist of modulations and creates beautiful counter motifs and shifting harmonies.

Torelli: Concerto for Strings. Op. 6 No. 1

for String Quartet

Arranged for string quartet “Buoyant, cheerful. A four-movement work of joyful Baroque energy and color; suitable for weddings, social events, or pure listening pleasure.”

Traditional: The Water Is Wide (Waly, Waly)

for mezzo-soprano and orchestra/piano

The traditional Scottish folk song arranged for mezzo- soprano and orchestra. 5-6 min. (2*222-4231- Harp, Chime, Strings). Also for mezzo-soprano and piano.

Solo Works

Orchestral

Chamber Works

Choral

Handbell Choir

Arrangements

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