Liner Notes
Cat. No. NWCRL542
Release Date: 2011-07-15
Laura Flax, clarinet; Atlantic String Quartet: [Linda Quan, violin; Evan Paris, violin; Lois Martin, viola; Christopher Finckel, cello]; Allen Blustine, clarinet; Aleck Karis, piano
The Quintet for Clarinet and String Quartet is in three movements, each longer than the preceding, The third, a slow movement, accounts for nearly half of the piece's length. The first movement is introductory. After a fragmentary opening the music builds quickly, then dissolves, with the tension of the climax still persisting. The second is a scherzo; fast and motoric, but subdued, with strings muted. At the end of this movement a full and sonorous climax is finally achieved and sustained, but is cut off and followed, after a pause, by an epilogue that is unexpectedly tranquil. The first two movements form a single span. Unsettled and continuous, they provide a setting for the serene and expansive third movement. The five distinct sections of this concluding movement alternate slow music with episodes that are more animated. The ending is quiet and joyous as the long arc comes peacefully to rest. —Edward Cohen
The music in Profiles moves in and out of focus: sometimes obscure and mysterious, sometimes clear and direct. The first two movements, played without interruption, each start with slow, ethereal, low-register material. The first gradually broadens as the three instruments blend into a single cascading gesture, while the second turns into a clarinet and piano duo where romantic lushness is spiced with jazz-like harmonies. The final movement begins abstractly and ends very concretely in a thumping ostinato.
Apertures (1984) originated with a surge of energy. In the early stages of composition the entire piece was intense, driving and constant in the rapid turnover of its textures. The title grew out of the discovery that the piece needed openings or breathing spaces to allow the high energy material to diffuse. Hence the "apertures," the quiet, contemplative sections of the piece, were born. They introduce the listener to the active music in slow motion. The challenge for composer and listener alike is to transform material from dissonant to consonant, vertical to horizontal, rhythmically complex to simple, widely spaced to close together, without losing sight of the common harmonic and melodic sources that link them. The piece is in three large sections with an "aperture" at the end of each. —Eleanor Cory
The Quintet for Clarinet and String Quartet is in three movements, each longer than the preceding, The third, a slow movement, accounts for nearly half of the piece's length. The first movement is introductory. After a fragmentary opening the music builds quickly, then dissolves, with the tension of the climax still persisting. The second is a scherzo; fast and motoric, but subdued, with strings muted. At the end of this movement a full and sonorous climax is finally achieved and sustained, but is cut off and followed, after a pause, by an epilogue that is unexpectedly tranquil. The first two movements form a single span. Unsettled and continuous, they provide a setting for the serene and expansive third movement. The five distinct sections of this concluding movement alternate slow music with episodes that are more animated. The ending is quiet and joyous as the long arc comes peacefully to rest. —Edward Cohen
The music in Profiles moves in and out of focus: sometimes obscure and mysterious, sometimes clear and direct. The first two movements, played without interruption, each start with slow, ethereal, low-register material. The first gradually broadens as the three instruments blend into a single cascading gesture, while the second turns into a clarinet and piano duo where romantic lushness is spiced with jazz-like harmonies. The final movement begins abstractly and ends very concretely in a thumping ostinato.
Apertures (1984) originated with a surge of energy. In the early stages of composition the entire piece was intense, driving and constant in the rapid turnover of its textures. The title grew out of the discovery that the piece needed openings or breathing spaces to allow the high energy material to diffuse. Hence the "apertures," the quiet, contemplative sections of the piece, were born. They introduce the listener to the active music in slow motion. The challenge for composer and listener alike is to transform material from dissonant to consonant, vertical to horizontal, rhythmically complex to simple, widely spaced to close together, without losing sight of the common harmonic and melodic sources that link them. The piece is in three large sections with an "aperture" at the end of each. —Eleanor Cory
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. CD-Rs come in a protective sleeve; no print booklet or jewel case included. Full liner notes are accessible via the link above.
Edward Cohen & Eleanor Cory
| MP3/320 | $7.99 | |
| FLAC | $7.99 | |
| WAV | $7.99 | |
| CD-R | $7.99 |
A *.pdf of the notes may be accessed here free of charge.
Track Listing
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Quintet: I. Moderato
Edward Cohen
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Quintet: II. Con moto
Edward Cohen
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Quintet: III. Andante adagio
Edward Cohen
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Profiles: I. Quarter Note = 66
Eleanor Cory
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Profiles: II. Adagio; piu mosso
Eleanor Cory
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Buy
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Profiles: III. Eighth note = 160
Eleanor Cory
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Buy
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Apertures
Eleanor Cory
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Buy
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