Harvey Sollberger, flute; Robert Dick, flute; Keith Underwood, flute; Patricia Spencer, flute; Robert Weirich, piano
Otto Luening writes:
“The nineteenth century repertoire included vast numbers of works for solo flute. Composers like Fürstenau, Böhm, Doppler, and others are still known to most flutists and flute lovers, but their tradition was interrupted in the first half of this century. In these Suites I wished to build a bridge from the nineteenth century to the exciting new flute sounds of today. Each of the seven movements in Suites III and IV consists of a sonority form contrasting with all the others. Suite V has four movements; Preamble, March Ceremony, Reception, and Conversations. The intervallic relations, integrated with tempo, rhythm, and dynamics bring out the certain acoustic characteristics of each movement. The contrasting sound images balance and give an impression of the flute's manifold possibilities. Movements may be repeated at the discretion of the player. Suite V, an experiment in contemporary 'music for use,' has been played at weddings.”
Chester Biscardi writes:
“A tenzone was a lyric interchange in medieval Italy and Provence (tenson), usually between two poets, concerning topical poetic devices and ideas. This piece itself is a response to the work of Toru Takemitsu, composer, teacher and friend, to whom it is gratefully dedicated.
Eugene Lee writes:
“Compositon for Flute Solo Was composed between 1973 and 1974. The work falls into three large sections, played without pause. The first section is largely devoted to a monophonic line. The second section is polyphonic, achieved by contrasting register, dynamics or tone color between the polyphonic voices. In the third section, a vertical organization of the earlier horizontal material is restructured as a monophonic lino into which the previous polyphonic relationships are compressed.
Robert Dick writes:
“Afterlight was written in 1973, and is, to my knowledge, the first piece composed for flute using multiphonics as a language, rather than as 'special effects.' The piece is in three part form and, for the most part, is derived from its opening motive. I used images from various folk tales as a source of inspiration at the time of composition, but I find them unnecessary when playing the piece.
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. Liner notes are accessible via the link above.
Flute Possibilities
| 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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Third Suite for Flute Solo: I. -
Otto Luening
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Third Suite for Flute Solo: II. -
Otto Luening
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Third Suite for Flute Solo: III. -
Otto Luening
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Third Suite for Flute Solo: IV. -
Otto Luening
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Third Suite for Flute Solo: V. -
Otto Luening
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Third Suite for Flute Solo: VI. -
Otto Luening
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Third Suite for Flute Solo: VII. -
Otto Luening
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Fourth Suite for Flute Solo: I. -
Otto Luening
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Fourth Suite for Flute Solo: II. -
Otto Luening
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Fourth Suite for Flute Solo: III. -
Otto Luening
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Fourth Suite for Flute Solo: IV. -
Otto Luening
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Fourth Suite for Flute Solo: V. -
Otto Luening
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Fourth Suite for Flute Solo: VI. -
Otto Luening
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Fourth Suite for Flute Solo: VII. -
Otto Luening
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Fifth Suite for Flute Solo: I. Preamble
Otto Luening
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Fifth Suite for Flute Solo: II. March Ceremony
Otto Luening
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Fifth Suite for Flute Solo: III. Reception
Otto Luening
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Fifth Suite for Flute Solo: IV. Conversations
Otto Luening
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Tenzone
Chester Biscardi
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Composition for Flute Solo
Eugene Lee
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Afterlight
Robert Dick
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