By Glenn Pillsbury

Special to The Record

November 17, 2005 7:15 AM

Professional inspiration comes from many sources, some more unusual than others.

For composer Kenji Bunch, Sigourney Weaver turned out to be one such source. He met the actress when she was involved in a performance of one of his works at the Tanglewood Music Festival in 2003.

"She was a lovely person, down to earth, and generous with her time and her interest in the project," Bunch recalled. "It was so inspiring to me that someone with her level of success still takes her craft so seriously and doesn't take anything for granted."

Local audiences will get a taste of Bunch's inspiration this weekend as the Stockton Symphony performs the West Coast premiere of his latest piece, a concerto titled "Double Talk: A Conversation for Marimba, Trumpet and Orchestra." The program also includes Rossini's "William Tell" Overture, Respighi's "Fountains of Rome" and Tchaikovsky's "Capriccio Italien." Peter Jaffe conducts.

Currently composer-in-residence for the Mobile Symphony in Alabama, Bunch composed "Double Talk" in close collaboration with marimba soloist Makoto Nakura.

"I've now written four pieces that include marimba, and they've all been for Makoto," Bunch said. "It's enjoyable to write for him, because he can pull off anything."

The double concerto appealed to Bunch as a way for orchestras to feature one of their own members. The symphony's principal trumpet, Brian Anderson, will handle the piece's trumpet solo.

The work's particular combination of instrumentation might strike some as unusual, and Bunch was initially concerned that the marimba wouldn't be able to compete with the trumpet. That's not been the case.

In addition to influences from composers such as Dmitri Shostakovich and Morton Gould, Bunch's music integrates various idioms from American popular culture. In 2004, the Santa Rosa Symphony premiered his "Symphony No. 1: Lichtenstein Triptych," a musical tribute to pop artist Roy Lichtenstein. That piece touched on the kinds of recognizable styles heard in the new double concerto.

"In this piece, he seems to have landed on the swing style," Jaffe said. "It's elegant fun."

The concerto's third movement is particularly notable in this regard, as the orchestra takes up the role of a big band "shout" chorus behind the virtuosic lines of the two soloists.

"This is a piece for marimba and trumpet," Nakura said, "so we thought something jazzy would work because of the associations those instruments have in people's minds with jazz."

Bunch began composing seriously while studying viola at Juilliard. He has received commissions from orchestras and ensembles across the country.

Eagerly dividing his time among his varied musical projects, Bunch is always open to new inspiration.

"Sometimes it gets challenging, but I really feel that performing helps my composing so much," he said. "It gives me a good understanding of the musicians I'm writing for. You can't study that in a book."

Contact Glenn Pillsbury at features@recordnet.com