Janice Augustus
Janice G. Augustus
email: janco7music@aol.com

Janice Garnett Augustus (b. 1945) is a native of Cleveland, Ohio. Her mother began teaching her piano at the age of four. At age five she began her studies at the Phillis Wheatley School of Music. From the age of seven, she studied piano extensively for seven years under the tutelage of Rose P. Widder (protégé of Leopold Godowsky, Russian pianist and composer).

She began violin at the age of ten and soon studied with Gino Antal (of The Cleveland Orchestra) and Helmut Braunlich (at Catholic University of America, Wash., D.C.). She played violin in numerous orchestras, including first chair in the following: the Cleveland All City Orchestra, the Mount Pleasant Symphony, and the All City Orchestra in Washington, D.C. Janice studied flute under James Turner and played flute and piccolo in several concert and marching bands. For many years Janice studied dance with Gail Crawford Gibson and drama with Ann Flagg at the Karamu Theater in Cleveland and participated in both children’s and adult plays.

Janice received a scholarship to Howard University in Washington, D.C., where she majored in violin under the direction of Louia Von Jones and Bernard Mason. She was concertmistress in the Howard University Orchestra. She minored in piano and studied many other instruments at length. After moving to Southern California in 1969, Janice played violin with the Beverly Hills Symphony for a short while under the direction of Varujian Kojian. Janice gave private lessons in violin and piano throughout her teaching career.

As a teacher for the Archdiocese of Los Angeles for twenty years, Janice taught academic subjects at Guardian Angel Catholic School, in Pacoima, to Grades Six and Eight and music to Kindergarten through Grade Eight as well as teaching piano classes, directing the award-winning Guardian Angel Glee Club, and putting on recitals and plays. For twenty-six years she also served as sole organist and director of two choirs for English and Bilingual Masses. For many of these activities she used original music.

Janice currently resides in Southern California with her husband, Michael. She has five children and several grandchildren and great-grandchildren. Since retiring in 1996, she is able to devote much time to composing and has completed several compositions, mostly for violin and piano. Janice dedicates her music foremost to God, and then to her late mother, Willistine Lavora Garnett.

Janice is a member of the Center for the Promotion of Contemporary Composers, the American Composers Forum, the Society of Composers, Incorporated, the International Alliance for Women in Music, the National Association of Composers, USA, and the American Society of Composers, Authors and Publishers (ASCAP).

Works

Six Miniatures for Violin, Op. 1, Nos. 1-6  (1998)
A delightful collection of short pieces.  Featuring themes that are throwbacks to the late Baroque, Classical, and early Romantic masters, the composer provides music that is enjoyable to play as well as to listen to.

Miniature Sonata for Violin, Op. 2  (1998)
Should not be mistaken for being either short or simple.  It lacks only traditional sonata form in being a sonata in the "classical" sense.   Excellent motivic use binds each movement from start to finish, and the use of the parallel minor for the slow movement adds an unusual harmonic touch.

Images of Zoria, Op. 3   (1998)
A lively sketch featuring an extended cadenza for the violin, this piece gives us glimpses into the life of Zoria Silvers, a fictitious character whose life may yet be set to words by the composer.

City Images, Op. 4   (1998)
Combines the violin and piano to produce a musical picture of city sounds.   Consonant and lyrical as the city is in its quieter times, dissonant and detached as it is when alive and busy, this piece is very effective in producing the desired images.

Sonatina for Violin and Piano, Op. 5   (1998)
A three-movement piece in which the composer utilizes instruments in an extended lively dialogue in the outer movements, while adding an interesting rhythm and tempo combination in the middle movement.

Miniature in Two Movements for Violin and Piano, Op. 6   (1998)
Consists of a slow movement resembling a nocturne, and a quick tempo movement with a distinctive dance flavor.

Miniature for Two Violins, Op. 7   (1998)
A three-movement work consisting of an up tempo first movement, a slow, lyrical second movement, and a running, almost canonic third movement.  Similar figures in all three movements tie the work together.

Miniature for Two Violins, Op. 8   (1998)
Three diverse movements beginning with the flavor of old Italy, a lushly romantic adagio, and a playful romp that bears a resemblance to Mozart.

Miniature for Two Violins, Op. 9  (1998)
Three movements of just plain enjoyable music.  The composer drives home her rhythmic motives throughout, but uses the melody to keep things from getting boring.  Lots of canonic sounds in typical Augustus fashion.

Miniature for Two Violins, Op. 10  
(1998)
Augustus puts forth her own style with this work that features a few old and many more new melodic ideas woven into rhythmic ideas from earlier works.  A feature of Augustus' music now shows itself in the canonic passages scattered throughout.


You need the Flash Plugin to view this content