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Dancing on the Wall draws inspiration for both its title and content from the events of the fall of 1989 at the Berlin wall. Literally overnight the barricade of the wall between east and west was removed and there was a general rejoicing worldwide. The jubilation was most felt by the German people themselves and it was manifested by days and days or celebration. What witness to those incredible events could forget the hundreds of thousands of people celebrating around the Brandenburg Gate or the sight of huge throngs of revelers actually dancing atop the wall itself where only a short time before they would have been shot to death.

Dancing on the Wall is written in three parts. Part one is the oppression of the wall and the yearning for freedom. Part two is a fanfare for freedom. Part three is the dancing on the wall.

The oppression of the wall and the yearning for freedom is written in aleatoric form, that is there is no division of the music into measures and beats in the traditional sense. Rather each player is more of a free entity to play as he wants (within guidlines). The piece begins with the orchestra in total darkness emphasizing the oppresiveness of life under the wall. Beginning almost inaudibly with the bass drum and "water gong" there are many unusual and evocative sounds which gradually occur including soft pitched harmonics produced by running a finger around the rim of a partially filled wine glass (this particular sound was very popular in the eighteenth century: Benjamin Franklin invented a musical instrument using this technique called the glass harmonica). The yearning for freedom is evidenced by a nostalgic trumpet solo of the West German national anthem. The oppression increases to an intolerable level including several calls for "freiheit" (freedom).

As the oppression reaches its peak the brass enter and the lights come on. A rhythmic fanfare between the brass and percussion ensues which signals the dawning of a new era. After the fanfare the drums start dancing with a kind of jazzy, syncopated beat. There is general rejoicing and commotion as more and more people clamor up on the wall and begin dancing themselves. Finally a fever pitch is reached and the dance concludes with an explosive outburst.

Dancing on the Wall was commissioned by the Adrian Symphony Orchestra for its tenth anniversary season and was premiered on November 11, 1990 with David Katz conducting. A second performance was given by the ASO on April 9, 1996 on a concert which also featured violinist Itzhak Perlman.

The orchestral forces required are as follows:

• 3 flutes (piccolo)
• 3 oboes (english horn)
• 3 clarinets (bass clarinet)
• 3 bassoons (contra bassoon)
• 4 horns
• 3 trumpets
• 3 trombones
• tuba
• 4 - 5 percussion ***
• harp
• violin 1, 2
• viola
• cello
• string bass

*** Percusson requirments:

• large bass drum
• large string drum "lions roar"
• water gong (requires a tub of water to submerse the gong)
• 4 - 5 various sized suspended cymbals played with a string bass bow
• 4 various sized tenor drums
• timpani
• chimes
• vibes
• glockenspiel
• large / small triangle
• large steel plate with hammer
• set drums (snare, bass, tenor, hi-hat, sizzle, cowbell, woodblock)
• vibra-slap
• 2 ten inch 2x4's played on the floor

Duration: 8 minutes. The score and parts (printed with Finale) are available for performance. For further information contact the composer below.