|
Masks
When asked to write a piece for the National Flute Convention in Phoenix, I envisioned
a piece comprising several short movements. The idea of MASKS appealed to me, for a mask
generally makes an impression quickly; its affect clear at a glance.
I have collected several masks over the years, and looked at many more in museums and
art books of various kinds. Three of these movements reflect particular masks that I have
seen, one is a generic type, and two are waiting to be constructed.
The three specific masks are: I A Haida (Northwest Native American) mask, of commanding
presence; II a Huichol (Mexican Native) Jaguar mask, completely beaded with intricate
flower patterns; and III, an African American death mask of great calmness. IV is a clown
mask, and the last two are left entirely to your imagination.
Dances & Variations
The flute and harp are both ancient and beautiful instruments, and their sounds
complement each other in unique ways. In this piece I have explored some of these
combinations. The first movement, "Entrata", is a light piece with shifting
rhythms in both instruments; it quotes some children's tunes now and again. The second
movement, "Adagio", is rather stark, with a measured ostinato in the harp and
contrasting, rhythmically free gestures in the flute. These eventually come together in a
slow melodic section. These two movements comprise the "Dances" of the title,
for they are both involved with various kinds of motion, and I would love to see them
choreographed at some time.
The third movement is a series of variations on a lovely tune written in 1759 by
Francis Hopkinson, a Philadelphia lawyer and a signer of the Declaration of Independence.
The song is called "My Days have been so wondrous free", with a text by Thomas
Parnell. The variations are rather "wondrous free" themselves, having been
influenced as much by the words as by the melody, and moving far from the original, though
returning for a straightforward rendition of the tune at the end.
My days have been so wondrous free,
the little birds that fly
with careless ease from tree to tree
were but as blessed as I.
Ask the gliding waters if a tear of mine
increased their stream,
and ask the breathing gales if e'er
I lent a sight to them.
Homage to Bartok
Of the many marvelous aspects of Bartok's composition, two in particular have
influenced this piece. In the first movement I have used structural techniques
and short, angular themes typical of the string quartets, but seldom, if ever,
applied to winds. A folk element in evident in the rhythms and patterns of the
last movement. The second movement, an arioso in free time, is not consciously
tied to Bartok. It begins with a long oboe solo which overlaps the end of the
preceding movement.
From the Testament of Francois Villon
Francois Villon (1431-1463?) was a major lyric poet, a scholar, and a man of great
excess. He was imprisoned several times in his short life, and banished from Paris in
1463, shortly after he wrote The Testament. It is presumed that he died about this time.
The full text of The Testament runs about 75 pages. Some of it is obscure, some
scatological; all of it is fascinating. There are rage, sorrow, beauty, and a poignant
regret, as well as a voracious appetite for life and an indomitable spirit. Last but not
least, there is the poetic bravura of acrostics and word games woven through the serious
and satiric ballades and chansons. In choosing selections for this piece, I have tried to
give a distilled picture of the main subjects in The Testament - revenge, sorrow, lust,
love, and death. Villon's searing directness and sharp satirical bite are splendidly
caught in this translation by the American poet Galway Kinnell.
Summer Night
Summer Night was completed in July, 1985, and premiered by the New York Concerto
Orchestra outdoors in Lincoln Center the following September. It was published by Theodore
Presser, with a piano reduction, in 1986. The flute and horn are a rather mismatched pair
in many ways. To let their individual qualities sound, I began with a short soliloquy for
each. This is followed by a slow dance which grows out of the soliloquies, and then a
lively one, as the instruments (or characters, or thoughts) meet and interact.
Images for Clarinet, Violin, & Piano
This piece has to do with the way various images - or themes - are changed in the
process of thinking. The first movement is concerned with two very distinct ideas that
eventually interact and affect each other. The second movement is a set of six variations
on a somewhat somber American colonial hymn, "God of my Justice". Each of the
variations relates back to the original theme rather than to each other, as is
traditional. The third movement begins with similar themes which diverge and eventually
agree to a separation. It also contains hints of a Gershwin tune that reveals itself at
the very end.
Images was written in 1982 for the Verdehr Trio, which has recorded
the piece for Leonarda Productions on CD (LE326).
Sonata for Oboe and Piano
Throughout my composing career I have avoided the name "Sonata". Discussion
of the term in Grove's Dictionary of Music and Musicians(Fifth Edition) runs to twenty-two
pages. In this case, however, it seems appropriate, for it gives a sense of
substantiality, and a link to the past. The first movement introduction contains a short
quote from Samuel Barber's haunting and beautiful "Cave of the Heart", a piece I
played often on tour with the Martha Graham Dance Company in the 1960's. This quote
becomes a motive that generates much of the rather lyrical first movement.
The second movement is much more intense, and grows in a freer fashion from the opening
ostinato to a large climax. It ends in a somewhat improvisatory, pastoral mood, which I
have always found particularly appealing on the oboe. The third movement hasn't a single
serious measure, and even pokes a little fun at some of what comes before.
Qwindtet
Qwindtet was written for the Hudson Valley Wind
Quintet, on commission from Peter Alexander and the State University of New York at New
Paltz.
The piece follows an unusual plan. Movements I (Prelude), III (Interlude), and V
(Finale) are all drawn from the same lively material, in dance-like 7/8 patterns. The
second movement, a Lullaby, is gently lyrical. The fourth, a Dirge, is much more serious,
even austere at times. The Finale, though based on the original 7/8 motives, retains some
of this darker mood, then gradually resumes the bright character of the Prelude.
Psalm 23
Psalm 23 has a very personal and unusual
history. Written in February, 1981, when my mother was permanently disabled by illness, it
was given its first performance on Mother's Day, directed by the Reverend Dennis Michno at
All-Saints church in New York. Dennis then obtained a commission from the Episcopal
Diocese of New York to orchestrate the work. In this version the piece was first presented
at the Cathedral of St. John the Divine during the Fifth Annual Festival of Worship and
Music on October 24, 1981, by a chorus of 400 and orchestra. My mother passed away quietly
the next
day.
Kokopeli
Kokopeli, the flute player, was a great mahu,
or legendary hero of the Hopi, and of other Native Americans living in the Southwestern
area of the United States. He is said to have led the migrations through the mountains and
deserts, the sound of his flute echoing through the great canyons and cliffs. In this
piece I have tried to capture some of this sense of spaciousness, and of the Hopi's deep
kinship with this land. This piece
has also been influenced by Native American flute songs and sounds.
Two Sketches
Both of these pieces were begun in 1985 and completed in the fall of 1989. They are
extremely different in concept: one is quite visual and impressionistic, and the other is
a musical game.
"Winter Sands" reflects the spare haziness of a winter's walk by the ocean,
accompanied by a few seabirds and the sudden rush of waves flung on the beach.
"Turnabout" is a kind of musical puzzle that fascinates composers for it
requires the construction of sounds that make sense forward and backward, as in a
palindrome such as "Madam, I'm Adam" or the word "radar'. (Bach was
particularly brilliant at this, and other such musical games.) The first section begins
with march-like motives in the brass, then clusters in the winds and vibraphone, all set
against a soft, agitated line in the strings. This string line suddenly grows to encompass
the orchestra, passing quickly by like a whirlwind. Then the section grows to a climax and
breaks off. The second section begins with a slow, erratic bass line; bits of the first
section appear above this and begin to build up to a large climax. As the climax finishes
we find ourselves at the end of the first section, and the entire piece proceeds backward
note-for-note from that point, whirlwind and all.
Ritual
Ritual was written in 1989 and is influenced by
my study of Greek folk music, which features the clarinet as a virtuoso solo instrument.
The piece is in three distinct parts. The first consists mostly of isolated gestures; a
sort of recitative. This moves into a mournful, measured duet that builds in steady motion
to a climax that recalls some of these opening gestures. This is followed by a fast, at
times almost frenzied dance. Many of the runs, interval patterns and rhythms, particularly
in the dance, are related to the Greek tradition.
Canyon Echos
An Apache Folktale
This piece was inspired by a book called The Flute Player, a simple and beautifully
illustrated retelling of an Apache folktale by Michael Lacapa. It is the story of two
young Apaches from different areas of a large canyon, where the streams ripple and the
wind sings in the cottonwoods. They meet at a Hoop Dance, and dance only with each other.
The next day, as the girl works up on the side of the canyon in her father's fields, the
boy sits below by a stream and plays his flute for her (flute-playing was a common manner
of courtship). She puts a leaf in the stream which flows down to him, so he knows she
hears. This continues for a time, until the boy is woken one morning and told he is of age
to join the hunt - a journey of some weeks, leaving momentarily. The girl still
listens each day for the flute until, feeling abandoned, she falls ill and dies. When the
boy returns, he runs to play for her - but there is no leaf. When he learns of her death,
he disappears into the hills, and his flute still echos when the breezes blow through the
cottonwoods, and the streams ripple in the canyon.
Kyrie
Kyrie is a series of free variations on Kyrie
fons bonitatis, as found in the Liber Usualis, an official Catholic book of
chant based on historical sources. "Kyrie eleison" is Greek for "Lord have
mercy upon us" and serves as the first section of a mass.
The sound of several flutes playing unison Gregorian chant very softly has haunted me
since I first heard it some years ago. When I was commissioned by the Tucson Flute Club
this beautiful sound came to mind, and it led me to write this piece. The Kyrie fons
bonitatis has an unusual form, with a two-part refrain. This refrain echos throughout
my piece, and, after wandering far afield, brings it to a quiet close.
Double Concerto
When two violinists get together to perform with orchestra, it's usually a friendly
celebration; a chance for colleagues who value each other's talent and skills to enjoy
making music together. It doesn't happen very often, and there isn't a lot of literature
to choose from. So, I began to think... if I were one of the players, I would want the
piece to be grateful and warm, with lyricism and a sense of playfulness. This is what I
have attempted to write.
The opening movement, after a slow introduction, focuses on two ideas; in the first the
strings (or the piano), led by the soloists echoing and chasing each other, build a
cluster of sounds by adding on notes above and below. In the second the soloists answer
back and forth with arpeggiated chords. The rest of the movement grows out of these ideas,
with a harmonic and rhythmic debt to jazz.
The second movement contains an extended lyric duet for the soloists, accompanied by a
muted countermelody and plucked bass notes. The third is more virtuosic with a driving,
uneven theme in the solo violins propelled forward by the bass. It also contains a cadenza
for two.
Divertimento
Divertimento is, as its name implies, a
light work, and one that was written with the enjoyment of the players much in mind. The
musical sources are international - French, a touch of Russian, a bit of jazz. The fast
section of the second movement has short "character" motifs for each instrument,
which are sometimes played alone, sometimes mixed, rather like individual steps in an
exuberant country dance."
Aria & Allegro Giocoso
"Aria" was written in 1982 as the middle movement of a Serenade for clarinet
and string quartet. This piece was originally intended for adult amateurs, and its
simplicity and lyricism have proved perfect for the cello. In 1985 a cellist friend
requested a companion piece, so I added the Allegro giocoso. It is a light, quick movement
with bantering between the two instruments, and a few effects that only a cello can make.
Sinfonia
The idea of writing a bassoon quartet, when first mentioned, fascinated me; the
instrument is an impressively flexible one with a wide range. Besides, I knew the members
of the New York Bassoon Quartet, and the temptation to write for such fine players was
irresistible.
The central section of the Sinfonia, the Funeral March, was inspired by the form of a
scene from Stiffelio, an obscure opera by Verdi. It features a repeating bass motif, with
increasing layers and densities of sound. The introduction is a bit freer and more
experimental in nature. The last movement is an up-tempo fugue, with elements of jazz and
some rather silly and difficult grace-note figures.
Three for Eight
Three for Eight was written for my friends
and fellow flutists in the New York and Long Island Flute Clubs. Much of this piece was
written during a blizzard, which may account for its obsession with summer at the beach.
The first movement, Dunes, is about the slow shifting of shapes (colors, harmonies) that
one sees in sand and clouds. Sandpipers draws its motion from the quirky scurrying of
bunches of these little birds as they chase the waves up and down the beach. Kites sail
with great freedom by the ocean, gliding gracefully, then darting and diving with sudden
gusts.
Night Skies
This orchestral tone poem has grown from a fascination with a singular - and presently
popular - watercolor by Henri Edmond Cross (French, 1856-1910), called Landscape with
Stars. The Metropolitan Museum of New York, which owns this lovely work, has enlarged it
for a poster and reduced it for a card; I particularly love it in its original size and
setting. Something about the bold splashing of yellow in the sky renewed my fascination
with how art can give us an intense sense of a familiar sight or experience. I began
thinking of various ways that night skies affect me, and how I could portray these
experiences in sound.
As I worked on this piece I was also drawn to the nightscapes of Albert Pinkham Ryder
(American, 1847-1917) with their mysterious and haunting moons and hazy, sensual forms.
This influence is heard in the second section of the work. As I began the third and final
area, however, I searched in vain for a similar visual reference, and turned instead to
the immense, dramatic stormy sky as I have seen it in the Southwest; whirling and
churning, then erupting in sudden surges.
Quintet (Da Pacem)
for Piano and String Quartet
Sometime in the 1960's I came across a simple, lovely canon by Christoph Demantius
(1567 - 1643) with a text beginning, "Da pacem, Domine, in diebus nostris..."
("Give us peace, Lord, in our time..."). Both the music and sentiment continued
to haunt me, for I would occasionally use the piece in sight-singing classes, where it
would be sung by vigorous young men the age of thousands who had been drafted to suffer
and die in Vietnam and elsewhere. At some point I began to think about structuring a large
work around this canon; one whose parts would all be related in various ways. This is the
piece that developed from that idea. The first movement's main theme grew from certain
motives in the canon, but they are woven into this theme in subtle ways; they do not stand
out. Since the second theme is derived from the first, those motives, though not obvious,
are present throughout much of the movement. The second movement, a fantasia, begins in a
very quiet, pastoral mood, actually incorporating the sound (at pitch) of a mourning dove
in the viola. As this section begins to fade, we hear a more open reference to the canon;
this is quickly effaced by the rather violent material that erupts and dominates the next
large part of the work. In the aftermath of this section the piano leads us to a quiet,
thoughtful area where the canon melody appears in the strings in isolated, chorale-like
phrases. Then, after a long section which binds together various aspects of the piece, it
appears in the original canon form, to close the work.
Eleni: A Greek Tragedy
In 1948, toward the end of the Greek Civil War, Eleni Gatzoyannis was tortured
and executed by Communist partisans for smuggling her children out of Greece to join their
father in America. Her son, Nicholas Gage, who was eight at that time, became a reporter
for The New York Times, and in the early 1980's he returned to Greece to trace the events
leading to her death. The result was the extraordinary book, Eleni. I was extremely moved
by Mr. Gage's book. Eleni was a heroine, and, like many in the old Greek dramas, an
archetype as well.
To construct this piece, which is both a lament and a tribute, I turned to Greek folk
music, in particular from the northwest area of Epiros where Eleni lived. Much of this
music is based on intonation and harmony that are foreign to Western ears. Melodies move
in a rhapsodic manner, flowing freely between the notes we recognize, while harmonies
change little, following the melody closely. Rhythms based on 5 and 7 are common. The
clarinet, played in a style resembling that of "klezmer" music, is a constant
presence. The folk materials, the dances and songs of the first section eventually
dissolve into an area of growing tension, climaxing with the full orchestra. Out of this
climax the clarinet reappears, followed by an alto completing the "moirologhia",
or funeral lament, which was begun by a solo cello in the first section. The piece ends
with an orchestral lament based on motives drawn from the earlier materials.
Bounce
This little piece started with the simplest of ideas - a ball bouncing. Soon I realized
that different balls bounce in various ways, with different patterns and sounds. Next
thing I knew, this bouncing began to take over a whole orchestra - winds, strings, brass,
and finally percussion, each bounding about in its own way. Finally, the sound of a Cuban
rhythm section, as bouncy as anything on the planet, joins the fun.
Central American Songs
When asked to write some songs my thoughts turned to a most unusual book titled
"Izok Amar - Go", or Central American Women's Poetry for Peace, edited by Zoe
Anglesey. The book is printed in Spanish and English, with some poems, and the title, in
Mayan as well. The title means "women going forward with love, not bitterness".
Many of the countries of Central America have the inherently unstable situation of a
large population of "peasants" - largely poor and Native American - and a very
small group of extremely rich non-Indian landowners. The latter tend to control the
government and army as well as the land. During the 1980's, Nicaragua and El Salvador
experienced prolonged struggles that stemmed from these harsh disparities, and one is
currently active in southern Mexico. In Guatemala, the military government has carried out
systematic "actions" against the Mayans, who are a peaceful, artistic culture.
These have included forced removal and massacres. The award of a Nobel Peace Prize to a
Guatemalan Mayan woman, Rigoberto Menchu, in 1992, focused international attention on the
situation, and helped to curb the atrocities.
The poems come directly from these struggles for freedom and integrity, and reflect the
lives of women caught up in these events.
 | I The Woman of the Huipil
from "The Word" by Celina Garcia |
| II Remedies
Virginia Grutter, translated by Janet Rodney |
| III Prayer for a Son Disappeared
Maria Perez Tzu; transcribed in Mayan & translated by Ambar Past |
Suite for Saxophones
In the spring of 1980 I heard the New York Saxophone Quartet play and decided to write
a piece for them. The sound of saxophones has been with me all my life in jazz, big bands,
rock, and everything in between. This suite draws on those sounds - from the simple bounce
on "Count Off" to the 50's atonal jazz element in "Honk". "Going
to London" has a double derivation; I was making a trip to London at the time, and I
took the rhythm of the title for my main theme. The third movement in an arrangement of a
"pop" tune written by a friend.
Selima
Selima, or Ode on the Death of a Favourite Cat,
Drowned in a Tub of Goldfishes This piece is a setting of a poem by 18th Century English
poet Thomas Gray. The poem is a spoof - odes are generally serious, philosophical works -
so I felt free to add musical spoofs of my own. The word "gold" triggers a short
cadenza whenever it appears; the clarinet plays the cat, even to a purr; and the goldfish
are surrounded by impressionistic "watermusic". As for any anti-female or
anti-feline sentiments expressed I confess I viewed them as part of the spoof. Greed is
not, and never has been sex-specific; however, humans as a species excel at it.
Winter Spirits
There is a picture by the marvelous artist Maria Buchfink of a Native American flute
player; from his flute rises a cloud of kachinas and totem spirits. This piece has also
risen from his notes, and it is indeed influenced by Native American music. The idea of
the flute invoking beneficial spirits, be they kachinas or any others, is a very natural
one. Such spirits are an accepted and valued part of life in most of the world, and the
flute has been used to honor and invite their presence for countless ages.
Stitch-te Naku
There are many ways of thinking about the world. Mathematics is one. Anyone who has
learned a second language knows that not only do words differ, entire concepts do as well.
Music has its own meanings and structures, which cannot be reduced to words. Native
American stories are another means of perceiving reality. Calling them "myths",
or implying that they are untrue or insignificant blinds us to a rich world of meanings.
Stitch-te Naku is a story of creation, and of weaving; of Stitch-te
Naku, the Spider-Grandmother who wove the world in her web, and all of its features and
creatures. As for weaving - we weave cloth, stories, plans; we "weave the fabric of
our lives". And the Spider, creating her web out of herself, has many resonances:
about creativity, and persistence...about a single source of creation.
Native American storytellers prefer to tell the tale, and let their listeners ponder
the implications.
In my "tale" I have presented Spider the creator; the weaving-creation of
many elements, including birds and animal, and descent into chaos with the sounds of guns.
This is followed by a song of mourning, then by renewal, as Stitch-te Naku dances, joined
by her creations. Various Native American musical ideas have influenced this work.
The Heart Speaks
Anna Wickham was a little known Australian poet who lived from1884 to 1947. She trained
as an opera singer, but spent most of her adult life in domestic pursuits in England. Some
of her work was quite outspoken for its time, voicing frustration with the constraints on
women's lives. She published two small books of poems. The American poet Sara Teasdale
(1884 -1933) wrote primarily of nature, love, and love's disappointments, and was widely
published and anthologized in her lifetime. She died tragically, a suicide.
These poems appealed to me for their directness, and for their portrayal of a variety
of moods: from delight to despair, from love to contempt, from courage to a chilling look
at the folly of war. Each of these poets let her heart speak out strongly in her work, and
I chose the title to reflect that quality.
Reflections
Reflections is a series of free variations
on a short sequence from the ancient Norwegian Olavs-fest in Nidaros. Most of it was
written during a performing residency at Artpark, near Niagara Falls, New York, in 1982. I
played for an hour out-of-doors twice a day, usually alone, but sometimes with mimes or
storytellers. Each day I wrote a variation and performed it still in pencil sketch. Later,
in New York City, I reordered the set, and added a contrasting variation and a final
section.
Trio for Flutes
The Trio for Flutes was written in 1974. Having played flute for many years, I did much
of my earliest composing for the instrument. These five short movements explore various
effects and sonorities, and different ways of combining the voices. This last is
particularly evident in Movement III, Vivo, where the main line sweeps from voice to
voice, and the open fifths constantly switch voice and register. I also had fun with the
fourth movement, Largo, which is a musical palindrome, like the word "radar"; in
other words it is the same backward as forward.
Sound Bytes
Sound Bytes is a group of six light pieces
for two flutes. Some of the movements explore sounds and colors particularly effective on
the instrument, while others poke fun at contemporary cliches.
I - Get Up is a be-bop tune with four short choruses. II - Thirds contains a certain
kind of disjunct, fast writing that flutists have seen ad nauseum the past twenty years.
III - Short Circuit, or "Minimalis Interruptus" is a rather personal look at
minimalism. IV - Invention, whose form is that of a Bach Invention, exploits the swift
double-tongue possible on the flute, from its low register bee-buzzing sound to the
brilliant top notes. V - Johnny Two-Note is written entirely on D and A flat, using varied
colors, dynamics, ranges, and other effects. VI - In Flight explores the sweeping and
darting of flight, using virtuosic runs, trills, tremolos, and harmonics.
Pieces for Piano
The pieces in this collection were written over a period of several years, and have
been performed in many different groupings.
Three + Three is a 'game' piece, based on a pattern of three quarter notes
followed by three eighth notes. This pattern is subjected to a variety of melodies,
modifications, and indignities but it emerges intact. Forest Bird evokes a single
voice calling from a shadowy setting. Dream brings together seemingly unrelated
sounds, which eventually merge as events do in dreams. Chase was inspired by that
most American of obsessions: the movie car chase. Lament is a very spare
evocation of desolation and loss. Allegro molto combines speed,
syncopation, and whimsy. There are touches of jazz, as in much of my work. Poem
was written as a small present for a sad friend.
Trio
The Trio was completed in 1978 and dedicated to the
memory of a friend. Its first movement, Moderato-Allegro con fuoco, opens with a soft,
rhythmic introduction and progresses to an intense, lyrical Allegro. The second,
Cantabile, begins with a mournful theme in the lowest cello range and eventually moves
into a dirge, with the strings singing over a slow, repeating piano ostinato. The third
movement, Allegro molto con brio, is strongly contrasting, with constantly changing
rhythms, some playful sections, and a sort of "stamping dance" in the middle.
Lyric Trio
In 1983 I was commissioned to write a piece for the Huntingdon Trio. I chose to write a
substantial piece with more emphasis on melody than much of the music being written at
that time, hence the name. The long first movement has two main ideas; one energetic and
rhythmic, the other lyric. Most of the movement concerns the interweaving of these ideas,
with two dream-like interpolations. The second movement is a melodious serenade. Each
instrument has its own solo to sing, and then these are brought together toward the end of
the movement. The third is a perpetual motion with overtones of jazz, odd sounds, and
references to the first movement.
Clarinet Concerto
The Clarinet Concerto was written in 1986-87 for the jazz virtuoso Eddie Daniels.
Eddied has an active interest in many kinds of music and performs the classical repertoire
as well as improvising brilliantly. In writing this piece I have used material from both
traditions. The Concerto is structured in a familiar format of three movements, with
numerous elements of jazz and big band sounds - harmonies, rhythms, riffs, and some
improvisation. The first and last movements, both lively, frame an Elegy, written on the
death of a friend.
Suite for Two Flutes
This is a set of five short movements highlighting various aspects of the flute;
melodic, virtuosic, mysterious, and playful.
Medieval Suite
The Medieval Suite was inspired by characters and events described in Barbara Tuchman's
A Distant Mirror, a history of fourteenth-century France. It was a violent, bitter century
of extensive wars, and Ms. Tuchman sees it as something of a reflection of our own. The
first movement, "Virelai", uses parts of a work in that form by Guillaume de
Machaut, a French composer of that era. The "Black Knight" was a valiant,
violent British prince, barred from his beloved fighting by a wasting disease. The
fourteenth century was a low point for the Catholic Church with warring Popes in Rome and
Avignon, and "the Drunken Friar" was apparently a common sight. In this movement
I have freely adapted and embroidered a Gregorian chant and quoted a well-known round of
the time, "Sumer is acumin in". "Princess Isabelle" describes a
daughter of the King of France who was engaged at the age of six, sent to England to live
permanently, and wed at twelve - a common fate for royal children. The "Demon's
Dance" was a desperate marathon dance done by some in hopes of avoiding the Black
Plague.
String Quartet
This string quartet combines both simple and abstract elements, a process that
has fascinated me over the years. After a short introduction, the first movement
presents a melody that resembles some of the Native American music I have become
familiar with over the last several years. These melodies are often
improvisatory, and this one moves rather freely above its accompaniment. During
the writing of this movement I was haunted by the image of a swiftly running
deer. This influence can be heard in the rushing, wind-like area that fills the
center of the movement. I have no explanation for this; the deer simply came to
visit and I did not send it away.
The second movement is a scherzo marked vivace. It contains, among other
sections, areas where the rhythm and/or the intervals get smaller and smaller.
Movement three begins with quiet, nocturnal sounds, which introduce a Hopi
lullaby.
The fourth movement encompasses extremes of motion and dynamic. Driving parts
are interrupted by soft sections, and toward the end are transformed into an
accompaniment for a melody from the beginning of the piece. The movement ends
quietly.
This quartet was written for the marvelous Colorado Quartet.
|
