Locklair, Dan (Steven)

Locklair, Dan (Steven), American composer, organist, and teacher; b. Charlotte, N.C., Aug. 7,1949. He studied organ at Mars Hill (N.C.) Coll. (B.M., 1971), took courses with Joseph Goodman (composition), Robert Baker (organ), and Eugenia Earle (harpsichord) at the Union Theological Seminary School of Sacred Music (S.M.M., 1973), and completed his education with Samuel Adler and Joseph Schwantner (composition) and David Craighead (organ) at the Eastman School of Music in Rochester, N.Y. (D.M.A., 1981). From 1973 to 1982 he was a church musician in Binghamton, N.Y., and an instructor in music at Hartwick Coll. in Oneonta, N.Y. In 1982 he became an asst. prof., in 1988 an assoc. prof., in 1990 composer-in-residence, and in 1996 a prof. of music at Wake Forest Univ. in Winston-Salem, N.C. From 1981 he received annual ASCAP awards, in 1989 he won the Barlow International Competition, and in 1996 he was named Composer of the Year by the American Guild of Organists.

Works

dramatic: Good Tidings from the Holy Beast, opera (Lincoln, Nebr., Dec. 21, 1978); Instant Culture, choral drama for 2 Choruses, Soloists, and Piano (Hartford, Conn., April 26,1985); Scintillations, ballet (1986; Winston-Salem, N.C, March 13, 1987).orch.:Prism of Life (1980–81; Charlotte, N.C., May 12, 1982); Dances (1981; Binghamton, N.Y., May 15, 1982); Phoenix and Again, overture (1983; Winston-Salem, N.C, Jan. 29, 1984); In the Autumn Days, sym. for Chamber Orch. (1984; Omaha, April 20,1985); When Morning Stars Begin to Fall, tone poem (1986; Knoxville, Tenn., April 23, 1987); Creation’s Seeing Order (1987; Charlotte, N.C., April 13, 1988); Dayspring, fanfare/concertino for Guitar and Orch. (1988; Winston-Salem, N.C., June 13,1989); Concerto Grosso for Harpsichord, Strings, and Percussion (1990–92; Lohja, Finland, Jan. 16, 1997); Hues (1993; Fayetteville, N.C., Oct. 27,1994); Since Dawn, tone poem for Narrator, Chorus, and Orch. (1995; Winston-Salem, N.C., Sept. 28, 1996); ”Ere long we shall see...”, concerto brevis for Organ and Orch. (1995–96; N.Y., July 9, 1996).chamber:Constellations, concerto for Organ and Percussionists (1980); Music of Quince for Flute, Clarinet, Violin, and Piano (1981; New Milford, Conn., Aug. 15, 1984); Petrus: In Bright Array for Brass Quintet (1988–89); Through the Winds for Wind Quintet and Piano (1989; Winston-Salem, N.C., April 14, 1990); Dream Steps, dance suite for Flute, Viola, and Harp (choreographed version, Raleigh, N.C, Oct. 16,1993; concert version, Washington, D.C., Oct. 24, 1993); Diminishing Returns for 7 Percussionists and Piano (1994); Sonata da chiesa for Flute and Organ (1998; Knoxville, Tenn., June 29, 1999). keyboard: piano:Visions in the Haze (1982); Sonata (1987); 6 Interval Inventions (1988). organ:Inventions (1978); Rubrics (1988; Pittsburgh, April 16, 1989); Voyage, fantasy (1991; Atlanta, July 1, 1992); Windows of Comfort (2 vols., 1996; Topeka, Kans., April 6,1997). harpsichord:The Breakers Pound (1985); Fantasy Brings the Day (1989).vocal:Lairs of Soundings for Soprano and Double String Orch. (Binghamton, N.Y., Nov. 13, 1982); Tapestries for Chorus, Handbells, and Piano (1982; N.Y, Jan. 31,1987); Missa Brevis,’The Brass Mass” for Chorus and Brass Quintet (1985–87; Oneonta, N.Y., Nov. 14, 1987); ”changing perceptions” and Epitaph for Chorus and Piano (Portland, Maine, Oct. 25, 1987); The Columbus Madrigals for Treble Voices (Stroudsburg, Pa., June 16, 1991); Windswept (the trees) for Chorus, Wind Quintet, and Piano (1992; Charlotte, N.C., Feb. 25, 1994); For Amber Waves for 5 Choruses (1992); Brief Mass for Chorus (1993; Portland, Maine, March 5, 1995); Poems ’n Pairs for Children’s Voices and Piano (1994); Holy Canticles for Chorus (Winston-Salem, N.C., Oct. 18, 1996); Gloria for Chorus, Brass Octet, and Percussion (Portland, Maine, Dec. 4, 1999).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire