Troy Peters


Between Hills Briefly Green
for orchestra (2003)

1202 2000 str
duration: 9.5 minutes

Commissioned by the Vermont Symphony Orchestra for its 2003 Made in Vermont Music Festival

     Vermont Symphony Orchestra
     Jaime Laredo, conductor
     Arkell Pavilion of the Southern Vermont Arts Center
     Manchester, Vermont
     September 24, 2003

Nationally broadcast on the public radio program, Exploring Music with Bill McGlaughlin, on Wednesday, September 8, 2010.

materials available on rental from Granite Creek Music



Program Note

When I moved to Vermont in 1995, I was immediately struck by the intense verve with which summer is greeted there. Since the climate can be hostile for so much of the year, Vermonters seem especially motivated to get outside and enjoy the relatively brief season at every opportunity. Meanwhile, musicians from around the country have flocked to Vermont for years to play and study at summer festivals (Marlboro, Kinhaven, and countless others). Between Hills Briefly Green is a summer idyll for orchestra, a portrait of this seasonal and musical energy in Vermont.

I am grateful to poet David Budbill for the piece's title, also the title of a poem from his Vermont epic, Judevine. David's "Between Hills Briefly Green" evocatively uses a town softball game to stand in for the various activities that Vermonters squeeze into their "ninety days of frost-free weather."


Peters had specific members of the VSO in mind in his scoring and gives well orchestrated passages to the flutes and French horns in particular. It is a delight to hear a piece of contemporary music that we would really like to hear again, to want to hear more of what Peters has written in the past, and to look forward to his future compositions.
- David K. Rodgers, Hardwick Gazette (Vermont)

Between Hills Briefly Green, a programmatic piece based on Vermont's short summer, proved more than attractive. It opens quietly at sunrise with the glowing warmth of a summer scene, then begins taking on the summer's activities, including a Copland-like hoedown. The changing rhythms are infectious and harmonic language is largely tonal -- with just enough dissonance to keep it lively.
- Jim Lowe, The Times Argus (Vermont)