Tapu’at (2006)

for orchestra [8’]

FIrst Music Award

    commissioned by the New York Youth Symphony

Spectre Scenes (2003)

for orchestra [10’]

Breaking Dawn (1998)

film score for orchestra

Runner-up for Best Student Film, Kino Film Festival ‘99

    film by Heinrich Hadding

On Taos (2007)

for flute, cello, and improvised native flute and piano [15’]

    commissioned by the Taos Chamber Music Group

The Changes (2007)

1st Movement, (more coming!)

for double bass and string quartet [5’]

    commissioned by Robin Abeles

Benzi: Chaplin (2007)

for 8 percussionists and video playback [15’]

    commissioned by the Ju Percussion Group

La Vie Zazou (2005)

for violoncello [11’]

    commissioned by Sally Guenther

Balal (2004)

for percussion quartet [8’]

    written for the Original Skin Project

For Peace (2004)

for marimba [4’]

    commissioned by Naoko Takada

Michiyuki (2002)

(from Chikamatsu’s “Love Suicides at Sonezaki”)

for marimba [12’]

    commissioned by Naoko Takada, YCA

From Basho (2002)

for harp [7’]

    commissioned by Chilali Hugo

Pied Beauty (2007)

for SATB choir [3’]

   commissioned by Anna Mae Paterson

Potter’s Clay (2007)

for SSA choir [4’]

   commissioned by the Milwaukee Choral Artists

Shakespeare’s Love (2007) [in progress]

How Sweet and Musical, Love is a Smoke, How Silver Sweet

for SSAATTBB choir [9]

“How Sweet and Musical:”

Swan Composer Award, Honorable Mention, 2002

   “Love is a Smoke” commissioned by Kathy Romey,

    director of the University of Minnesota Choirs

Psalm 95 (2006)

for SATB choir [5’]

   commissioned by the Wauwatosa Presbyterian Church

Make We Merry (2003)

for SATB choir [4’]

   commissioned by the Mount Mary College

Psalm XCI (1999)

for SSAATTBB choir, soprano and tenor soloists [15’]

Louis Smadbeck Composition Award, 1999

The Pouring of Light (2007)

for mezzo soprano, flute, and piano [17’]

    commissioned by Trio Angelico

Remembrance (2006)

for medium voice and piano [8’]

    commissioned by Georges Calteux

Mercutio’s Queen Mab (2002)

for soprano and string quartet [3’]

How Sweet and Musical (2001)

for soprano and tenor [3’]

Shanti (2000)

for soprano, amplified piano, violoncello, 6 women’s voices,

and djembe [11’]

ASCAP Young Composer Award, 2001

    commissioned by Natasha Zajac

            [available for soprano, SSMMAA women’s choir,

            amplified piano, violoncello, and djembe]

Stagefright (2000)

for soprano, conductor, oboe, clarinet, trumpet, percussion,

and piano [8’]

    It was so dramatic that the audience really felt the story. The sound was contemporary, portraying how the two lovers kept walking on the road to death...the acting part was extremely effective; the mallets represented the two lovers. Only Takada and Fowler together could have made this music so fascinating to everyone.

Music Modern (Japanese translation)

    Among the more conventional but equally colorful offerings was Paul Fowler's harp work, ``From Basho,'' played by Bridget Kibbey, which combined angular lines and brash timbres with the sweeping arpeggiation associated with the harp.

New York Times

©  paul fowler 2007

    The piece [Tapu’at] began with whirling woodwind figures, pulsing percussion and flickering strings. A second section had a slow, gentle flow, with liquid solo lines played beautifully by Laura Lutzke, the concertmaster. A stately passage for brass and rumbling percussion was followed by sections that were radiant, ghostly and shimmering by turns. The conclusion returned to the sounds of the introduction, restated more boldly. The colorful, attractive music was an ideal showcase for these accomplished players.

New York Times

     If there was a star in the concert, apart from the ensemble and the music, it was composer and keyboardist Paul Fowler. He played the synthesizer, rattles, drums, and strummed the strings on the piano not unlike a Harpo Marx liberated from conventional expectations...Fowler manhandled that baby grand piano, running his fingers or a hand across the strings, slapping the grand from below, above, and on its sides to get the percussive sounds, while also tending to the ivories for their sweet sounds. As he turned that baby upside down and inside out, I was reminded of one of those street musicians, who use their hands on body parts and beat garbage cans while creating compositions with their urban licks.

Taos Horse Fly