R. Michael Daugherty – Composer

Original Music for Orchestra, Band, Ensemble, Solo, Chorus and Voice

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  • Hope and Courage – bassoon duo

    By R. Michael Daugherty / December 16, 2018

    Hope and Courage (2/26/18) for two bassoons – 5’00”.  This is a duo for student and teacher to play together.  In the two movements “Hope” is positive and strong while “Courage” is darker and deeper.  Both emphasize…

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  • The Blue Forest

    By R. Michael Daugherty / December 16, 2018

    The Blue Forest (3/24/16) for four bassoons – 7’20”.  The title relates to the bluesy theme and the four trees playing the piece.  This piece follows an arch-like form: ABA’CB’A Coda. The work begins with a dark,…

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  • Except in Fragile Moments – saxophone quartet

    By R. Michael Daugherty / December 16, 2018

    “Except in Fragi1e Moments” for saxophone quartet (1994) – 5’20”.  This work should be performed in the round with each player in a different part of the hall.  In this way, the constant repetition of middle C…

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  • Gallia…in partes tres – saxophone quartet

    By R. Michael Daugherty / December 16, 2018

    Gallia…in partes tres (2/14/14) for saxophone quartet – 9’30”.  The title of this work is a short form for the Latin quote that opens Julius Caesar’s book De Bello Gallico. “Gallia est omnes divisa in partes tres”…

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  • Dichotomies – clarinet quartet

    By R. Michael Daugherty / December 16, 2018

    Dichotomies (10/30/15) for clarinet quartet – 5’30”.  There are several dichotomies involved in this work.  First, there is the obvious character change between each movement, the first starting with drive and energy; the second, almost static; and…

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  • Hide and Seek – clarinet quartet

    By R. Michael Daugherty / December 16, 2018

    Hide and Seek (10/26/18) for quartet of clarinets [3 soprano, 1 bass] – 4’20”.  This cheerful work is a piece of program music.  Imagine three games of hide and seek.  In each game, the first clarinet seeks…

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  • Flute Flights – Flute Duo

    By R. Michael Daugherty / December 15, 2018

    Flute Flights (9/6/13) for two flutes – 5’40”.  “Flute Flights” is an offbeat dance. You will find it tonal and folksy. And it has short phrases in both major and minor, often in groups of five.  …

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  • At Play in the Garden – flute quartet

    By R. Michael Daugherty / December 15, 2018

    At Play in the Garden (4/18/17) for flute quartet – 6’00”.  This piece uses three extended techniques: flute pizzicato, tongue ram and beat box. The piece can be played without the extended techniques, but they add considerably…

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  • Inner Variables for Flute Collective – flute choir

    By R. Michael Daugherty / December 15, 2018

    “Inner Variables for Flute Collective” (1983).  Premiered in November, 1985, at the University of Georgia at Athens – 6’32”.  The work is scored for two piccolos, six flutes and two alto flutes. It is a minimalistic work…

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  • Reunion/Reminisecence – flute ensemble

    By R. Michael Daugherty / December 15, 2018

    Reunion/Reminiscence (8/24/16) for piccolo, 3 flutes, alto flute and bass flute – 6’30”. This work was composed for a reunion of former flute students of Marie Jureit-Beamish, students acquired during over 35 years of teaching at Principia…

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Testimonials

“A delightfully varied work…”

Michael Ching appeared again on stage to accompany clarinetist James Williams for R. Michael Daugherty’s Numinous Ignotus. A delightfully varied work in three movements, the 1987 piece explores the clarinet’s unique register shifts. Ching began with percussive chords, while the clean-toned Williams played snatches of high treble melodies. In the meditative movement that followed, the piano adopted an engaging waltz rhythm and the clarinet played liquid runs. The third movement brought both instruments together. Suddenly the tempo paused, as the clarinet struck a few experimental high notes, and then dashed to the closing.

Lee Lourdeaux, Durham Morning Herald, Tuesday, August 4, 1987

“…the songs seem practically to sing themselves.”

The Authentic Cadences of Gerard Manley Hopkins for baritone and organ by R. Michael Daugherty is certainly deserving of mention. The poems are “Let Me Be to Thee,” “Pied Beauty” and “The May Magnificat.” Registrations are apt and helpful. The manuscript is clear and easy to read, the organ part lies well under the fingers, and the songs seem practically to sing themselves. This set of pieces would be a welcome addition to a recital program, and the texts are also appropriate for worship use.

Mary Ann Dodd, “The Fourth Biennial Holtkamp/AGO Award in Organ Composition 1989-1990” published in The American Organist, October 1990

“…honest songs that you can wear for a life time!”

R. Michael Daugherty’s songs for soprano are delightful, whether it be a woman’s journey through life in Passages, or Emily Dickinson settings of Wagtail dances, Emily in Love, or Songs of Eternity. Tuneful inspiring melodies, thought provoking texts, honest songs that you can wear for a life time!

Alice Pierce, soprano

“…locals marveled at the seemingly perfect mating of language and Michael’s reaction to it.”

I have immense admiration for the work of R. Michael Daugherty.  As a conductor I have been especially blessed with Michael’s fifteen contributions to the repertory of The Denison Singers.  An inspired craftsman, always aware of the needs of the designated performers, astute in his choice of texts and response to them, those skills extend to the cycles of pieces he wrote for tours to Romania and Spain, where the locals marveled at the seemingly perfect mating of the local language and Michael’s reaction to it.  I hope that others will become acquainted with and perform the work of this immensely gifted composer.

William Osborne, Distinguished Professor of Fine Arts Emeritus, Denison University

“melodic flavor of works by Vaughan Williams and Eric Coates”

Conductor Hugh Partridge chose Ancient Voices by R. Michael Daugherty, an accomplished contemporary composer. The titles of the three movements are quotes from Caesar, Lucretius, and Horace. This piece calls for large forces, including harp. The overall effect was pleasantly romantic, with bits of modernity marbled in. The beginning Caesar movement bore resemblance to the melodic flavor of works by Vaughan Williams and Eric Coates, no minor accomplishment.

Paul D. Williams, CVNC, an online arts journal in North Carolina, May 8, 2011

“…spirited and interesting score…”

I admired the smooth playing and superior rhythmic sense of James Williams…and Michael Ching. Their ability to cope with the spirited and interesting score of R. Michael Daugherty’s Numinous Ignotus was obvious.

Nell Hirschberg, The News and Observer, Raleigh, NC, Monday, August 5, 1987

“…eminently embraceable.”

“R. Michael Daugherty’s body of choral works is eminently embraceable. Many specimens are moving, others are whimsical, each presenting its own degree of challenge and nearly all rewarding to both listener and performer.”

Robert Palmer, music critic Rochester Democrat and Chronicle (retired)

“…an incredible friend to the Philharmonic Association…”

You (R. Michael Daugherty) have been an incredible friend to the Philharmonic Association for so many years. I have enjoyed hearing your many compositions, and Hugh (Partridge) and the young musicians have enjoyed performing them. It has been a special collaboration that we treasure. Thank you for providing this celebratory piece (Celebration Overture) for the 30th Anniversary and Hugh’s final formal concert.

Margaret Partridge, Philharmonic Association Executive Director

“…a festive work…”

Celebration Overture is “a festive work…embodied in a bold, positive new score.”

John W. Lambert, CVNC, an online arts journal in North Carolina

Testimonials

“…honest songs that you can wear for a life time!”

R. Michael Daugherty’s songs for soprano are delightful, whether it be a woman’s journey through life in Passages, or Emily Dickinson settings of Wagtail dances, Emily in Love, or Songs of Eternity. Tuneful inspiring melodies, thought provoking texts, honest songs that you can wear for a life time!

Alice Pierce, soprano

“…spirited and interesting score…”

I admired the smooth playing and superior rhythmic sense of James Williams…and Michael Ching. Their ability to cope with the spirited and interesting score of R. Michael Daugherty’s Numinous Ignotus was obvious.

Nell Hirschberg, The News and Observer, Raleigh, NC, Monday, August 5, 1987

“…an incredible friend to the Philharmonic Association…”

You (R. Michael Daugherty) have been an incredible friend to the Philharmonic Association for so many years. I have enjoyed hearing your many compositions, and Hugh (Partridge) and the young musicians have enjoyed performing them. It has been a special collaboration that we treasure. Thank you for providing this celebratory piece (Celebration Overture) for the 30th Anniversary and Hugh’s final formal concert.

Margaret Partridge, Philharmonic Association Executive Director

“…a festive work…”

Celebration Overture is “a festive work…embodied in a bold, positive new score.”

John W. Lambert, CVNC, an online arts journal in North Carolina

“melodic flavor of works by Vaughan Williams and Eric Coates”

Conductor Hugh Partridge chose Ancient Voices by R. Michael Daugherty, an accomplished contemporary composer. The titles of the three movements are quotes from Caesar, Lucretius, and Horace. This piece calls for large forces, including harp. The overall effect was pleasantly romantic, with bits of modernity marbled in. The beginning Caesar movement bore resemblance to the melodic flavor of works by Vaughan Williams and Eric Coates, no minor accomplishment.

Paul D. Williams, CVNC, an online arts journal in North Carolina, May 8, 2011

“A delightfully varied work…”

Michael Ching appeared again on stage to accompany clarinetist James Williams for R. Michael Daugherty’s Numinous Ignotus. A delightfully varied work in three movements, the 1987 piece explores the clarinet’s unique register shifts. Ching began with percussive chords, while the clean-toned Williams played snatches of high treble melodies. In the meditative movement that followed, the piano adopted an engaging waltz rhythm and the clarinet played liquid runs. The third movement brought both instruments together. Suddenly the tempo paused, as the clarinet struck a few experimental high notes, and then dashed to the closing.

Lee Lourdeaux, Durham Morning Herald, Tuesday, August 4, 1987

“…eminently embraceable.”

“R. Michael Daugherty’s body of choral works is eminently embraceable. Many specimens are moving, others are whimsical, each presenting its own degree of challenge and nearly all rewarding to both listener and performer.”

Robert Palmer, music critic Rochester Democrat and Chronicle (retired)

“…locals marveled at the seemingly perfect mating of language and Michael’s reaction to it.”

I have immense admiration for the work of R. Michael Daugherty.  As a conductor I have been especially blessed with Michael’s fifteen contributions to the repertory of The Denison Singers.  An inspired craftsman, always aware of the needs of the designated performers, astute in his choice of texts and response to them, those skills extend to the cycles of pieces he wrote for tours to Romania and Spain, where the locals marveled at the seemingly perfect mating of the local language and Michael’s reaction to it.  I hope that others will become acquainted with and perform the work of this immensely gifted composer.

William Osborne, Distinguished Professor of Fine Arts Emeritus, Denison University

“…the songs seem practically to sing themselves.”

The Authentic Cadences of Gerard Manley Hopkins for baritone and organ by R. Michael Daugherty is certainly deserving of mention. The poems are “Let Me Be to Thee,” “Pied Beauty” and “The May Magnificat.” Registrations are apt and helpful. The manuscript is clear and easy to read, the organ part lies well under the fingers, and the songs seem practically to sing themselves. This set of pieces would be a welcome addition to a recital program, and the texts are also appropriate for worship use.

Mary Ann Dodd, “The Fourth Biennial Holtkamp/AGO Award in Organ Composition 1989-1990” published in The American Organist, October 1990
Bard Theme by WP Royal.
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