Douglas Hein, composer, guitarist and cellist
MM in Theory/Composition from California State University Fullerton studied with Lloyd Rodgers, Donal Michalsky
BM from USC, studied with Pepe Romero, James Smith, Jonathan Marcus, Vicenzo Macaluso
Published Compositions: Fantasia for Guitar Solo (Editions Orphee), Interlude for Flute and Guitar (Galliard Press)
An Assortment of Music of Douglas M. Hein
Music from Viola Land
The earthy dark tones of the middle voiced
viola were celebrated in “Works For Increasing Numbers of Violas” by Douglas
Hein. Bold, round, sunlit and gleaming, playing paint brushed stallions in
meadows quiet “All The Pretty Horses” – these works by Hein reminded that the
viola stands impressive on its own.
Pacifica Tribune Review of The
San Francisco Concerto Orchestra's Competition for Musicians of All Ages August
13, 2006 at Sanchez Concert Hall, Pacifica (published August 16, 2006)
I hear a symphony – Seth Montfort and The San
Francisco Orchestra
By Jean Bartlett
Arts Correspondent
All Viola works copyright 2006 by Douglas Hein
ASCAP 1717960
Note: these recordings are from a work in progress
All The Pretty Horses three violas
Do You Love Me (from Viola Joke, A Tragedy of Comic
Proportion) six violas
Regret Une four violas
One K Regrets five violas
Ricecare three violas
Homage a Machaut two violas
Cartesian Reunion Memorial Orchestra
Orlando, He Dead
Orlando he dead (Copyright 1985 by the Cartesian
Reunion Memorial Orchestra)
Sometimes the internet is a wonderful place. Composer
Paul Bailey
has just put up an mp3 of Doug Hein's
Orlando he dead, one of
my favorite pieces from the repertoire of the legendary Cartesian
Memorial Reunion Orchestra (a semi-situationist, semi-electric
chamber ensemble in the grand style of LA in the 80's). Hein's piece
is one of the few vocal works in the Cartesian 's repertoire, with
the only lyric I know of that meaningfully includes both Orlando di
Lasso and Mama Cass. It's also one of the very few genuinely funny
works of recent modern music. But more importantly, it's an example
of exquisite counterpoint and near-counterpoint and fake
renaissancery.
Other Cartesian Hits by Douglas Hein
Millez Regretz