"Alexandra du Bois - "The Storm"" genre: Chamber Music
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	Sonata for Violin and Piano "The Storm"(1999)..
	Credits: Performed January 2000 by Stanislav Antonevich, Violin, and Deborah DeWolf-Emery, Piano.
	Story Behind the Song Alexandra du Bois was born in Virginia Beach, VA, in 1981. She is currently pursuing a bachelor’s degree in composition at Indiana University where she studies with Sven-David Sandstrom. She was trained as a violinist from the age of two. She began compos ing when she was fifteen years old. Her previous teachers in composition include Don Freund, (Indiana University), Howard Frazin, and Osvaldo Golijov in Boston, and Philip Lasser, Narcis Bonet, and Samuel Adler at the La Schola Cantorum, (http://www.eamusic.org/), in Paris. Commissions include the University of Massachusetts at Boston University Chorus and Chamber Singers, the Longy School of Music String Department, and the Modern American Music Program. She has written works for almost every instrument including solo works for guitar, violin, ‘cello, and piano, string trios, woodwind and string quintets, large and small choral works, large instrumental ensembles, numerous works for violin and piano, and songs for tenor and piano, and soprano and piano. Although she now mainly considers herself a composer, she enjoys a secondary passion of playing the violin. Her past teachers include Suzanne Schreck, Peter Hass, (National Symphony Orchestra), Stephan Shipps, and David Salness at the Meadowmount School of Music, (http://www.meadowmount.com/), Lynn Chang, (Boston Chamber Music Society), Sophie Vilker, (Longy School of Music), and presently, Henryk Kowalski at Indiana University.r Lyrics I subtitled this Sonata for Violin and Piano, (1999), “the Storm,” for the reason that it was written during a period in my life that was both fantastic and traumatic. The Sonata begins before the storm has approached but it is thickly in the air and the feeling of impending fate is suspended for several minutes until this kismet is forgotten almost entirely. The opening theme is reinstated at the end of the second movement (the first two movements are attacca and are the only two movements included on th is track), but this time the theme is stripped of the piano’s damp atmosphere and here the piano represents the bolts of “lightning,” (which, in this piece, are metaphorical for the some of the emotions in this piece), that crash against the violin’s screaming cry. But until this theme reoccurs, the piece travels though a myriad of consecutive expanses of contemplation. This piece needs to be listened to with the volume high. n

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