SKU: CA.1630200
ISBN 9790007099695. Language: all languages.
The viola solo courbe 2 is based on an excerpt from the viola part in the Trio for flute, viola and harp << courbes >> - sequences. In the densest time curve of this piece the viola plays the leading role for a span of almost three minutes. This material is taken from the Trio, presented and divided into separate parts. courbe 2 is three times longer in duration than the Trio excerpt from which it is derived. The musical text of the individual fragments remains as it is in the original, but, pulsating, demarcated in seconds. Fissures emerge between the fragments, windows open: - to harmonic fields, central sounds, taken over from the reverberations, from which new tone material is derived; the fields in turn are distorted and spacialised by the electronics - to metrical structures and pulses freed from the individual motives of the original musical text, which forms new variants in interaction with these fields. Thus in courbe 2 which, as already indicated, is three times longer in duration than the original, three musical levels are interpenetrated, whereby all three are derived from one tone, which plays an absolutely central role in most of my works. It is a reference to the French writer Anne-Marie Albiach (and to her great text << H II >> lineaires), and it remains as the only tone at the end of the piece, definitively, determining everything, b = 247 Hertz. Walter Feldmann.
SKU: SU.50001420
Published by: Seesaw Music.
SKU: HH.HH316-FSP
ISBN 9790708092650.
Un sogno a tre for flute, viola and harp was written in 1990 for a trio of young instrumentalists and first performed in the USA. In the enigmatic words of the composer: the piece has no beginning, no middle and no end ... simply three musicians telling each other something and dreaming a little ... sound is arising and that is enough .... The three parts could be said to interact -- the harp creating a foundation, and the flute and viola forming a relief -- yet they never really meet, nor do they coalesce within the overall texture. Pitch and rhythm are strictly organized, but any attempt at dramatic development has been consciously avoided. The result, according to the composer, is a relief like mass that moves and sometimes stays still, the density of the events changing within and between each section. Despite the seemingly amorphous nature of Un sogno a tre, the structural unity of the piece is never in doubt.
SKU: HL.48024636
ISBN 9781540055354. UPC: 888680945640. 9.0x12.0x0.13 inches.
Beware Of combines tape with alto flute, viola, and harp. The tape comprises a poem by, and read by, Colleen Clyne, with snippets of recordings from the instrumental parts, played by members of Janus Trio. The work was commissioned by Roulette/Jerome Foundation and was premiered by Janus at a composer portrait concert at Roulette in New York City. Beware Of was recorded by Janus Trio for their album, I am Not, released by New Amsterdam Records in 2010. -Anna Clyne.
SKU: PR.144404780
UPC: 680160490325.
SKU: HL.14040569
8.25x11.75x0.075 inches. French.
SKU: LM.JJ18452
ISBN 9790230818452.
SKU: SU.27060530
Flute, Violin, Viola, Violoncello & Harp Duration: 18’ Composed: 2007/2013 Published by: Pacific Serenades.
SKU: PR.114423470
ISBN 9781491137314. UPC: 680160687473.
A commission from the Santa Fe Chamber Music Festival, for any combination of instruments of her choosing, quickly sparked Shulamit Ran to create a trio for Flute, Viola, and Harp. She writes of this instrumentation: “something about its color palette reminded me of the image I have of Santa Fe as a sun-drenched city of warm hues, a thriving arts scene, and a spirit of relaxed tolerance.” In this subtle, yet dramatic work, the instruments begin the journey with distinct, contrasting musical personalities, which gradually begin to coalesce, though not without surprise twists along the road.Being commissioned by the Santa Fe Chamber Music Festival to create a new work for the major milestone of its 50th anniversary was both an honor and a special delight. My choice of the flute, viola, and harp combination for this composition was reached quickly and almost instinctively, motivated not only because I relished the thought of composing for an instrumental ensemble I had not previously written for, but also because something about its color palette reminded me of the image I have of Santa Fe as a sun-drenched city of warm hues, a thriving arts scene, and a spirit of relaxed tolerance.In All Roads Leading I treat the instruments intermittently as three distinct characters who have their own individual “voices” and musical materials, while at other times they coalesce into a single, more unified entity. In the sections expressive of the instruments’ individual “souls”—as I like to call them—the music ranges from the songful, to the impassioned, but also the volatile. In contrast, where all three instruments act as a single entity, the music tends to be highly rhythmic, sometimes dance-like, even angular, and spiky.As the work progresses, the boundaries between these contrasting approaches become deliberately blurrier and more intertwined, perhaps reminding one of a tale with various twists and turns in the plot. And although eschewing a formal recapitulation, various motivic threads as well as emotive “states” are eventually brought full circle, as if to fulfill an intended role that crystallizes only as All Roads Leading plays out its full journey. Simultaneously with the general unwinding and relaxation that is reached nearthe end, a mutation of an earlier more threatening element appears at the very closing of the work, perhaps a reminder that the unknown always lies ahead.
