3 mvts: I. Vif, II. Chant du Soir, III. Voix argentine
This Concertino takes the lively French chamber wind literature of the early 20th-century as its starting point, but this piece views the “French” style through an odd lens, twisting and bending the language of that neo-Classical genre in order to run the music through very different stylistic approaches. In the later movements, the Franco-survey is expanded to other inspirations—to not only the techniques of other French nationals, but also of those I consider “French” in spirit, such as Japanese composer Toru Takemitsu. In writing the piece, I was particularly excited to explore these styles while juxtaposing the virtuosity of the soloist with the delicate intimacy of the chamber ensemble.
Practically, the work comes out of the efforts of my friend and colleague Robert Ambrose, a champion of new music who encouraged me to write for chamber winds, and flute in particular, and who shepherded the project with infectious enthusiasm. The Concertino is dedicated to flutist Sarah Kruser Ambrose, for whom it was written.
FlSolo(Fl/Picc/Alto), Ob1, Ob2/EHn, Cl1/EbCl, Cl2/BCl, 2Bsn, 2Hn, Pno
Boston College, Sebastian Bonaiuto, Director of Bands
The Florida State University, Richard Clary, Senior Band Conductor
Georgia State University, Robert J. Ambrose, Director of Bands
Kennesaw State University, Peter Witte, Director of Bands
Louisiana State University, Frank B. Wickes, Director of Bands
Tarleton State University, Jonathan Hooper, Director of Bands
University of Puget Sound, Robert Taylor, Director of Bands
University of Tennessee, Gary Sousa, Director of Bands
Valdosta State University, Joe H. Brashier, Director of Bands
Willamette University, Tim Robblee, Director of Bands
Additional support provided by: Azure Ensemble, Susan Glaser, Artistic Director
Consortium organized by: Robert J. Ambrose, Georgia State University
(for score & parts to the 4/07 uncorrected editon)
- m.48 Flute should be beamed 2+3
- m.107-113 (letter H) – flip the English Horn and Bassoon 2 parts. Bsn plays what EH plays and vice-versa. This significantly helps the balance so you can hear the bassoon solo
- m.168, flute solo – leave out beat 1 if necessary during the instrument switch. The flutist at the premiere was able to swing it with some fancy taping of the solo part so she didn’t have to turn the page as well.
- if nec., for balance, you can leave out Horn 2 at reh. N, until m.204
- m.11 Clarinet trills to written F4 (whole-step)
- m.18 & 64 piano – “bisbigliando” is spelled incorrectly
- m.30 alto flute harmonics – tongued, not slurred.
- m.33 Clarinet trills to written B-flat (whole step)
- m.34 horn 1 – eighth note + staccato – no note extender
- m.38 horn 1 OUT (measure rest) — this is for balance so you can hear the alto flute better. So now that line hops over to the EH.
- m.38 piano, p not pp
- m.47-50 alto flute dynamics bumped up one level
- m.50 – alto flute harmonics, tongued – no slur
- m.67-8 piano D-flat and E-flat 3’s are harmonics, as before
- last measure – horns “con sord.”
- m.25, alto flute last beat: E-nat, G-flat, A-flat, A-nat. (Gb5 not Eb5)
- m.34-5, horns open
- m.45 & 155 Oboe, beat 1: G-flat
- m.45 & 155 Clarinet 1, 2nd note is a C#
- m.102-3 Oboe: B-flats until the B-natural
- m.108 Clarinet 2 first note: A-flat (not A-nat)
- m.156 Flute last beat B-nat, D-flat, E-flat, E-nat (Db6 not Bb5)
- May 7, 2023 - Northwestern University Graduate Conductor's Chamber Ensemble at Pick-Staiger Hall. Conducted by Schyler Adkins.
- March 16, 2019 - Bay State Wind Ensemble at The Center at Eagle Hill, Hardwick, MA . Conducted by Peter B. Lewis.
- October 23, 2018 - University of Oklahoma at Pitman Hall, Catlett Music Center, OU campus. Conducted by Don Linn, DMA Chamber Recital.