Orchestral Compositions
Due to orchestral and concert hall union regulations, not all of Liza Sobel Crane's orchestral works can be streamed online. Please Contact Liza for more of her orchestral recordings and/or perusal full scores.
Short Opening Concert Overture Works
(E)Merging Dances (2021)
Duration: 6 minutes
Instrumentation: 2 (II=picc).2(II=eh).2(II=bcl) - 2 2.2.2.1 - timp.perc(3) - harp - strings
(E)Merging Dances was commissioned and premiered by the New York Youth Symphony as part
of the First Music Program at Carnegie Hall in 2022. The title reflects my and much of society’s celebratory mood at
the beginning of the end of the pandemic. After months of isolation, returning to “normal” pre-
covid activities feels both exciting, but also trepidatious. (E)Merging Dances resonates with not
only my mood, but additionally its dance-like theme highlights how dance brings people
together, something we’ve avoided throughout the pandemic. Mirroring life, (E)Merging
Dances begins with a cautious excitement that builds as instruments layer on top of each other. Finally, everyone comes together, and the dance theme fully emerges as the whole orchestra
merges together.
Performers: Northwestern University Symphony Orchestra, Donald Schleicher (conductor)
Ticking Time Bomb (2018)
Chamber Orchestra version of Ticking Time Bomb available
Duration: 5.5 minutes
Instrumentation: 3(II=picc)(III=afl).3.3(III=bcl).3 - 4.3.3.1 - timp.perc(3) - harp - piano - strings
People are on edge, whether it is sparked by grave national issues such as gun control or immigration, or not quite such life and death issues, including the furor over Starbucks’ holiday cup decorations or celebrities’ clothes. The climate is explosive and anything could trigger it. My piece depicts being on the verge of nearly exploding. Sometimes, the harder a person tries to control oneself, the closer the person comes to detonating. Ultimately, the piece does completely lose control and implodes. Ticking Time Bomb premiered in 2020 with the Minnesota Orchestra performing as part of the Minnesota Orchestra's Composer Institute.
Performers: reading session with the Aspen Conducting Academy Orchestra, Pablo Devigo (conductor)
Hushed Fanfare (2024)
Duration: 5 minutes
Instrumentation: 2(I=picc).2.2.2 - 4.2.3.1 - perc(3) - strings
Hushed Fanfare was commissioned by the Wabash Valley Youth Symphony in honor of their 25th
concert season. Composers often write loud and fast concert opening overtures. However, I wanted to begin my
piece quietly, with just the strings playing pizzicato and frequent rests in the entire orchestra. More instruments join in while still maintaining the hushed dynamics until measure 70 when
everyone enters, playing joyfully. Eventually, the wind instruments loudly play the main
opening melody. The excitement builds to the entire orchestra
exuberantly performing the opening melody in rhythmic unison.
Performers: Wabash Valley Youth Symphony, Chris Wild (conductor)
Medium Length Orchestral Works
Chasing (2022)
Duration: 10 minutes
Instrumentation: 3(III=picc).3(III=eh).3(III=bcl).3(III=cbn) - 4.3.3.1 - timp.perc(3) - harp - piano - strings
Chasing was commissioned for the Texas State University Symphony Orchestra. My piece utilizes timbre, tempo, and orchestration to evolve one major theme throughout the work. I composed my piece in reverse order, approaching the ending first. The piano, strings, and high wind instruments, slowly play a polyrhythm of 2 against 3, while the English horn, clarinet, and French horn play a wistful descending melody. I’d been contemplating this melody for several
months, but I was finally compelled to fully compose this idea after my beloved pug dog, Chase, suddenly passed away last year. I’ve been fortunate, and no one else passed away in my extended family during the pandemic. Although Chase was only a pet, he occupies a special place in my heart and I still grieve for him.
In recognition for the many people who have dealt with death, loss, and grief for their loved ones throughout the pandemic, the ending of my piece reflects feelings of loss, but also acceptance of their passing. I experimented with having the majority of my piece in this slow contemplative style. However, it felt wrong to my furry brother’s happy and peaceful nature to have such a mournful style throughout the entire piece. Instead in the first half of the piece, I transformed the slower and more sorrowful English horn, clarinet, and French horn melody - speeding up tempo, adding a pulsing ostinato, and experimenting with the melody’s range and timbre to create something that more reflected Chase’s sweetness and the joy he brought me and others, just as many can focus on the happy memories of their deceased loved ones. The upbeat first half of the piece also reflects my excitement as the world is starting to open up after this long pandemic and the return of all the activities and occasions we all look forward to celebrating.
Performers: Texas State University Symphony Orchestra, Jacob Harrison (conductor)