Title: Concerto for Flute ‘The Winds of Winter’
Year Completed: 2005
Duration: 15 mins
Instrumentation: solo flute 1111 1100 Strings (1 to a part)
Premiere: Slee Sinfonietta at SUNY Buffalo, 2005
Purchase/Rent: Canadian Music Centre
Concerto for Flute 'Winds of Winter' (2005) is a composition for amplified solo flute and twelve piece chamber orchestra. The score is transposed to reading pitch. The piece is synthesis of my research into contemporary flute literature, performance practice and technique, and my compositional interests and studies. As such the solo flute becomes the primary impetus for most of the material through out the work. For example, harmonic material is derived from multiphonics produced on the flute. Extended flute techniques such as key clicks, tongue pizzicatos, timbre trills and singing are frequently passed between the chamber ensemble and the solo flute. Wind sounds, glissando effects and trills are also integral to this work. In the hope of achieving a more malleable and fluid sense of time alternation of free form, aleatoric and graphic notation, and quasi-improvisational techniques work in conjunction with standard notational practice. Thus moments of absolute rhythmic activity are easily juxtaposed with free form sections of relative and approximate duration. This alternation allows everyone - the composer, the flute soloist, the ensemble musicians and the conductor moments in which to shape temporal domains within the piece.
Instrumentation:
Solo Flute
1 Flute
1 Oboe
1 Clarinet in Bb
1 Bassoon
1 Horn in F
1 Trumpet in Bb
2 Violins
1 Viola
1 Cello
1 Contrabass
Year Completed: 2005
Duration: 15 mins
Instrumentation: solo flute 1111 1100 Strings (1 to a part)
Premiere: Slee Sinfonietta at SUNY Buffalo, 2005
Purchase/Rent: Canadian Music Centre
Concerto for Flute 'Winds of Winter' (2005) is a composition for amplified solo flute and twelve piece chamber orchestra. The score is transposed to reading pitch. The piece is synthesis of my research into contemporary flute literature, performance practice and technique, and my compositional interests and studies. As such the solo flute becomes the primary impetus for most of the material through out the work. For example, harmonic material is derived from multiphonics produced on the flute. Extended flute techniques such as key clicks, tongue pizzicatos, timbre trills and singing are frequently passed between the chamber ensemble and the solo flute. Wind sounds, glissando effects and trills are also integral to this work. In the hope of achieving a more malleable and fluid sense of time alternation of free form, aleatoric and graphic notation, and quasi-improvisational techniques work in conjunction with standard notational practice. Thus moments of absolute rhythmic activity are easily juxtaposed with free form sections of relative and approximate duration. This alternation allows everyone - the composer, the flute soloist, the ensemble musicians and the conductor moments in which to shape temporal domains within the piece.
Instrumentation:
Solo Flute
1 Flute
1 Oboe
1 Clarinet in Bb
1 Bassoon
1 Horn in F
1 Trumpet in Bb
2 Violins
1 Viola
1 Cello
1 Contrabass
