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

Thursday, June 09, 2005 (Daniel Wolf blog)

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