Bach, Beethoven, and Beyond
October 30, 2010 – 7:30 PM
Five Points Washington
360 N. Wilmor Rd.
Washington, IL
tickets: $29 adults and $7 children / students
get your tickets online at http://www.heartlandfestivalorchestra.org/
J.S. Bach Concerto for 2 Violins in d minor
Beethoven’s First Symphony
Lukas Foss’ Renaissance Concerto for Flute and Orchestra
This piece is difficult to find online. Here is what I came up with: the first is a link to an Amazon.com Music Sampler of a CD which includes the Renaissance Concerto. From this link you can get 30 second samples of the four movements.
Here’s the link Amazon CD Sampler
To supplement here is a review of the piece by Andrew Lindemann Malone, Rovi, which was found at this link:
Renaissance Concerto for Flute and Orchestra
“Twentieth century composers from Igor Stravinsky to Alfred Schnittke and everywhere in between explored material from the Renaissance and Baroque periods in their own compositions. When Lukas Foss was asked by flutist Carol Wincenc to compose a concerto for flute, he settled on the sound of Renaissance music as both a target and a point of departure. The resulting concerto uses transcriptions, evocations, and extensions to create, as Foss describes it, “an homage to something I love, a handshake across the centuries.” The precariousness of this concerto’s balance between ancient pipings and the thoroughly modern sound of Foss make it both a little unsettling and quite riveting. While a normal Renaissance suite might have opened with a sarabande, Foss’ “Intrada” is, as he describes it, “part flute cadenza, part chorale, and part circus music.” The flute-cadenza passages seem to be composed entirely of period-appropriate ornamental trills and runs, without an intervening melody; these mix with a jaunty processional melody in the winds, then a sonorous brass chorale delivered by trumpets from high perches on opposite corners of the stage to evoke music played from atop town walls. A “Baroque Interlude (after Rameau)” follows, which transcribes that master’s harpsichord piece “L’enharmonique,” from Nouvelles suites de pièces de clavecin, for flute, harpsichord, and full orchestra. The scoring is thin and open, as high notes in flute and harpsichord and pizzicato plucking mingle with precise timpani taps. The somewhat distorted melody becomes chirpy in Foss’ flute transcription, leading to a coda featuring a couple of jokey delays. The third movement is titled “Recitative (after Monteverdi),” and the flute part is freely adapted from a recitative from Orfeo. In a move away from Orfeo, the flute is supported by soft dissonant washes in the strings, echoed in canon by an offstage ensemble. Occasionally, the orchestral flute imitates the soloist as well. The textures are dreamlike, and the slowly shifting harmonies become almost hypnotic. This mood is dispersed quickly by the spirited canon which begins “Jouissance,” derived from a madrigal by Melville. Soon, however, this yields to a flutter-tongued flute cadenza, which in turn yields to strange evocations of Galilei, Gesualdo, and Peri. After these have left the stage, the flutist reenters over eerie glissandos in the strings and leaves the stage as well, its music dropping from forte to pianissimo and then to mere key-clicks as the soloists walks off. Foss’ response to Renaissance music is individual and inventive.” ~ Andrew Lindemann Malone, Rovi
See you at the concert!
0 Responses to “Bach, Beethoven, and Beyond: Previews”