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| Product number: | MFCC100SS pdf |
|---|---|
| Arrangement: | Orchestra |
| Genre: | Classical |
| Era: | Contemporary |
| Authors: | Cooman, Carson P. (1982-*) |
| Pages: | 55 |
| duration: | 12:30 |
| Publisher: | Musik Fabrik Music Publishing |
Flute Concerto - Sheet Music for flute solo + orchestra Carson P. Cooman
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Details
| Product number: | MFCC100SS pdf |
|---|---|
| Arrangement: | Orchestra |
| Genre: | Classical |
| Era: | Contemporary |
| Authors: | Cooman, Carson P. (1982-*) |
| Pages: | 55 |
| duration: | 12:30 |
| Publisher: | Musik Fabrik Music Publishing |
Product Description
This item contains the solo part and the full score. The parts are on rental from the publisher
Instrumentation
2 Flutes (2nd dbl. Picc.)
2 Oboes
English Horn
2 Clarinets in Bb
Bass Clarinet in Bb
2 Bassoons
4 Horns in F/Bb
2 Trumpets in C
2 Trombones
Tuba
Percussion (2 players)
I: tubular bells, crotales, bass drum, whip/slapstick
II: vibraphone (motor off), snare drum
(Percussion I needs one rosined bow.
Percussion II needs one rosined bow.)
Piano
Solo Flute
(If necessary, discreet amplification of the soloist is acceptable.)
Violin I
Violin II
Viola
Cello
Contrabass
(at least two players [ideally more] must have machine extension to low C)
Score in C
Piccolo sounds one octave higher than written.
Bass clarinet and contrabass sound one octave lower than written.
PROGRAM NOTES
Flute Concerto (2006) was commissioned by flutist Judith von Hopf and the
Kiev Philharmonic and premiered by them under the direction of Guido
Lamell. The work is in two movements: Chanson and Fantasy Variations.
The first movement, Chanson, is an extended "song" that develops through a
variety of textures. The opening song material is centered around G#. In turn,
this G# is revealed to be a quasi-dominant of a D centered sonority. (A brief
coda returns to G#, in preparation for the D center of the second movement.)
The second movement, Fantasy Variations, is cast as two presentations of
the theme surrounding five free variations, plus a coda. The theme serves as
the basis of the musical material for each variation as well as the structural
template for each. Also, each variation contains material referring back
specifically to the previous variation.
The opening theme is declamatory and massive. The first variation is fast
and limber. The second variation is introspective and stratified. The third
variation is fleeting. The fourth variation is distant and spare. The fifth
variation is fast and driving. The final theme begins whispered and slowly
regains its declamatory nature before a brief and intense coda ends the work
in a blaze.
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