RSP Records RSP-16
“Mr. Sowash’s music cannot be pigeon-holed. At times neo-classical, romantic, neo-romantic, or impressionist, the music is always original and never hackneyed or low-brow.” ~ The Chamber Music Journal
Rick Sowash has been writing inventive, creative, evocative, and beautiful music for more than half-a century, with more than 600 musical compositions to his credit. He has also written eight books, the most recent titled “How Music Means.” Kickshaw Records is proud to present an album of some of the composer’s recent, dynamic music for small ensembles of 2-7 musicians, including cellist Michael G. Ronstadt of the multi-generational Ronstadt musical dynasty.
1. The Swashbuckler: Homage to Korngold (2024) for flute, oboe, trumpet, piano, violin, viola & cello (5:15)
Julie Morris, flute; Yo Shionoya, oboe; Joel Payne, trumpet; Beth Troendly, piano; Doug Hamilton, violin; Rose Gowen, viola; Michael G. Ronstadt, cello; Chris Miller, conductor
When he first watched the adventure films Robin Hood, Captain Blood, and The Sea Hawk on the big screen, Rick Sowash says he was “swept up by the marvelous film score music that sprang from the fertile pen of Erich Wolfgang Korngold.” Many years later, he decided to write an overture in that swashbuckling style, isolating and fiddling around with the various elements as the overture took shape. After the opening fanfare, a romantic theme enters, developed flamboyantly and voluptuously. After the fanfare returns and is developed further, the oboe – about two thirds of the way through – quotes the opening motif of Korngold’s score for “King’s Row,” a theme that was also borrowed, expanded and made famous by John Williams when he used it as Luke Skywalker’s theme in “Star Wars.” Sowash adds, “This piece is fun, but still a serious and carefully crafted piece of musical art.”
2-4. String Trio No. 3 “The Hand of God” (2024) for violin, viola & cello (19:03)
2. Prelude (5:48)
3. Offertory (7:01)
4. Postlude (6:14)
Doug Hamilton, violin; Rose Gowen, viola; Michael G. Ronstadt, cello
5. Loveliest of Tunes (2025) for oboe & piano (5:43)
Yo Shionoya, oboe; Beth Troendly, piano
Again and again, over a span of sixty years of composing, the tune “Shenandoah” found its way into
many of Sowash’s chamber works, most recently “Loveliest of Tunes” from 2025. It begins with a long
oboe solo that includes fragments of “Shenandoah,” though they are scarcely recognizable as such. The
piano then enters, accompanying the oboe and developing the ideas presented by the oboe. Finally, at
3:29, the piano presents “Shenandoah,” that “loveliest of tunes” as the composer calls it, while the oboe
hovers over it, repeating the music played at the beginning of the piece. Sowash wrote and dedicated
“Loveliest of Tunes” to his friend Yo Shionoya, one of the most expressive musicians he says he has ever
known, who beautifully performs it on this new release.
6. Vocalise (2023) for soprano, flute, oboe, cello & piano (7:53)
Heidi Miller, soprano; Julie Morris, flute; Yo Shionoya, oboe; Michael G. Ronstadt, cello; Beth Troendly, piano; Chris Miller, conductor
7-10. String Trio No. 4 “Saints & Poets” (2024) for violin, viola & cello (19:56)
7. Intrada (6:37)
8. Scherzo (4:14)
9. Introspection (4:57)
10. Finale (4:08)
Doug Hamilton, violin; Rose Gowen, viola; Michael G. Ronstadt, cello
11. Gentle Reminder (2023) for oboe & piano (6:22)
Yo Shionoya, oboe; Beth Troendly, piano
12-14. Checkerboard Suite (2023) for flute, oboe, viola & cello (15:47)
12. Allegro (4:24)
13. Andante (6:23)
14. Bach vs. Joplin (5:00)
Betty Douglas, flute; Yo Shionoya, oboe; Rose Gowen, viola; Michael G. Ronstadt, cello
A checkerboard consists of a pattern of contrasting squares of white and black. Taking its cue from this, each movement of Sowash’s Checkerboard Suite offers two starkly contrasting musical elements. The third and final movement opposes the style of Baroque music with the style we call Ragtime. In other words, as the title indicates, the styles of J.S. Bach and Scott Joplin.
