Overtones flute repertoire 3 recording11/30/2023 Switch to the Notion 3 Mixer for the piece, where you will notice that you have the Notion 3 Reverb on the Master output track set to its default values. įor example, after listening to the audio produced by the Notion 3 sample score you provided, I immediately recognized one source of the problem, and it is is very easy to correct. There are explanations for what you hear, so the key is to discover how to identify them, for sure. Full liner notes are accessible via the link above.Note this: it does not occur with string instruments. CD-Rs come in a protective sleeve no print booklet or jewel case included. This title, originally issued on the CRI label, is now available as a burn-on-demand CD (CD-R) or download in MP3/320, FLAC or WAV formats. Although the work wasn't finished until July 7, 1983, its mixture of sunny stillness and sweet bubbliness led me to call it Spring Serenade in fact, the Pastorale, the movement that seems to have the most obviously springlike feel to it, was the first movement to be composed." "Sue Ann Kahn, as flutist of the Jubal Trio, premiered and recorded my cantata The Lowest Trees Have Tops, and in 1982 she asked me about writing something for flute and piano, a sizeable piece, a program-ender kind of piece. The concise, aphoristic materials of this sonata lend an aura of spontaneity to the work, even an apparent disjunction but Luening's “acoustic harmony,” that is, his method of manipulating and reinforcing overtones, supplies the necessary connections. The interlude leads without pause to a brilliant virtuosic flute cadenza which begins the second part. It unfolds in two parts separated by an interlude wherein the flutist improvises a tuning-up to the piano. Otto Luening's Third Short Sonata for Flute and Piano (1976), dedicated to composer and flutist Harvey Sollberger, is a delightful dialogue, at times dramatic, lyric, and poetic. He noted that in the concluding six bars, "each of the semitones of three octaves of flute range is represented once." In annotations accompanying the New Music score, Riegger wrote of his difficulties with the design of the Suite and with "the avoidance of diatonic tonality" in a work for which no other instrument is available to contradict the almost inescapable implied tonalities of a solo melodic line. 4, July, 1930) was dedicated to Georges Barrère, the dedicatee as well of Varèse's Density 21.5 (1936), and may well be the first piece of "ultra-modern" music for solo flute. Wallingford Riegger's Suite for Flute Alone, begun in 1928 and first published in Henry Cowell's quarterly New Music (vol. Third in Rochberg's "Ukiyo-e" series, following Ukiyo-e (1973) for harp, and Slow Fires of Autumn (Ukiyo-e II) (1978-79) for flute and harp, Between Two Worlds continues the imagistic current that runs through a great deal of his oeuvre. George Rochberg's Between Two Worlds (Ukiyo-e III) Five Images for Flute and Piano was written in Jerusalem during the late fall of 1982 for family friend Karen Wolfgang, a flutist it was premiered by Sue Ann Kahn and Vladimir Sokoloff in Philadelphia on Augat the National Flute Association Convention.
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