Andrew Mark Sauerwein

A short meditation on death and life, after John 11:25.

A meditation on the “extraordinary time” brought about by the Covid-19 pandemic.

This short study evokes an image from the first of T. S. Eliot's Four Quartets.  The violin describes a melodic palindrome centered on the "golden ratio," marked by sparse moments of resonance in the piano.

A Fanfare. A doxology, actually, both introit and benediction.

A tribute to the life and legacy of Russian physicist Andrei Sakharov.  Commissioned by Scott Eddlemon for the Oak Ridge Civic Music Society's Isotone concert series.

Concert version of music commissioned by Bob Hubbard at Northwestern College of Iowa as incidental music for T. M. Camp's adaptation of The Odyssey.

Commissioned for the dedication of the Thea G. Korver Art Building at Northwestern College of Iowa.  The soprano begins and ends with a traditional Irish tune, but temporarily shifts to a more strident melody.

Arrangement of two tunes to Away In a Manger, at one point sounding together.

This is a somewhat adventurous arrangement of the tune from the hymn "Come all Christians, be committed...."

This three-movement work sports vivid contrasts, dry humor, brooding dismay, longing, hope and transformation.

This setting was commissioned by Dave Stuntz, music director at Blacknall Memorial Presbyterian Church.  It has found its way into worship services, weddings, college chapel services, and even a musical mission trip to Peru.

This piece begins with four themes at once, developing each in turn (more or less) and introducing an additional baroque-like theme which later returns with romantic vengeance.

This piece presents the old hymn, "If thou but suffer God to guide thee," in the context of colorful, intellectual musical discourse, not seeking to answer a question as much as wonder about a relationship.

A short three-movement work given to abrupt thematic contrasts and a blend of tonal and post-tonal impulses.  This piece won the University of Oregon Chamber Music Series competition and was premiered by the Alexander String Quartet in 1995.

In this piece, instrumentalists are widely-spaced on stage to allow for dancers to move around them.  During the piece, the players individually move closer together, causing the dancers to expand their movements outward.  Margo van Ummerson provided choreography (see also For Margo).

Three movements, with allusions to a lumbering elephant, a plaintive jazz solo, and a cat-and-mouse chase.