Notes

Capricci was conceived as a colorful virtuosic encore for flute and piano. A single movement approximately five minutes in length, it features three contrasting sections brimming with syncopations and off-beat musical gestures. It opens in an explosion of energy followed by an elegant central section and closes with a light-hearted dance. The first concert performances of Capricci occurred November 12-13, 2016, in Palo Alto and Belmont, California. The performers for both concerts were Teressa Orozco, flute, and Libby Kardontchik, piano. — John Bilotta

 

Colors This piece features three different “Colors.” One day in early April I was walking down the street and found that a yellow butterfly was flying around a yellow flower. The yellow colors gave me an optimistic feeling. It made me realize how colors affect people’s emotions. In the spring, flowers are in full bloom and people enjoy the colorful scenery. I can imagine people’s good feelings. On the other hand, the gray sky of winter does not produce any pleasant emotions, so the people decorate their houses with colorful lights to create nice atmosphere and generate positive emotions. I wanted to make “feel-good music.”

 

The piece represents the three colors, yellow, blue, and orange. The beginning of the piece represents yellow for happiness and optimism. The middle of the piece represents blue, conveying trust, calmness and peace. The end of the piece, comes back to a positive color, orange, to represent confidence and cheerfulness. — Mari Kotskyy

 

Capricci was conceived as a colorful virtuosic encore for flute and piano. A single movement approximately five minutes in length, it features three contrasting sections brimming with syncopations and off-beat musical gestures. It opens in an explosion of energy followed by an elegant central section and closes with a light-hearted dance. The first concert performances of Capricci occurred November 12-13, 2016, in Palo Alto and Belmont, California. The performers for both concerts were Teressa Orozco, flute, and Libby Kardontchik, piano. — John Bilotta

 

The Glass of Absinthe

This piece is an attempt to capture the mood of the painting by Edgar Degas, The Glass of Absinthe. It was written sometime in the early 21st Century for a student who showed promise as a performer but for some unknown reason never performed it, although they expressed interest in playing it. — Carl Vollrath

 

ROMANCE for flute and Piano

The term "romance" generally implies a specially personal or tender quality. The Romance for flute and piano is written in ABA form with each section seperated by a cadenza for the solo flute.

 

The work opens with a gentle dance in the key of C.  The flute and piano share several moments of interplay between each other.  The first cadenza is in the key of G and leads into a more contemplative musical idea.  This is followed by a shortened version of the cadenza.  The dance returns in a shortened version to conclude the piece.

"Romance for flute and piano" was premiered on December 11, 2016 with flutist Ruth Chaput and the composer at the piano. — Marvin J. Carlton

 

Waltz for flute and cello was composed for Dawn Weiss, the former Principal flute player of the Oregon Symphony. It is tonal and has a three-part (A-B-A) structure. — Andrew Lewinter

 

Three Lais for solo flute

It wasn’t until I had completed the composition of the first of the three lais in 1975 that it occurred to me how it suggested a poem in an ancient tongue read aloud in an environment of stone and desert sand by a solitary poet and so could be called a “lai.” In 1985 I thought that the first lai might welcome the company of two others and so be regarded as the welcome member of a trio, each of which would express itself in a similar, seemingly improvisational, language that forsakes rhythmic rigidity in favor of an inspired, almost unpredictable, flow. It is for this reason that the three lais, I believe, are best performed together, each one supporting the others. —Allen Brings

 

Ondine’s Flute was written in 2012, while I was working on my MA at Montclair State. It was one of the first pieces I composed in my Hexagonal Modes, a modal system that I developed over 12 years’ time and used as the basis of my doctoral dissertation in 2017. Ondine uses Hexagonal Mode 8, a mode I call Phrygionian, because it is essentially a hybrid of the Phrygian and Ionian modes. It has also been referred to as “Whole Tone Plus,” and one example of its previous use is by Charles Ives in his Concord Sonata.

 

I associate this mode with the element of water. The name Ondine, besides being the name of one of my earliest elementary school crushes, is one of the names given to the mythical being that represents the element water, the mermaid. As I composed the piece I had an image in my mind of the Ondine sitting on a rock formation in the middle of the ocean, with the waves splashing foam over and behind her, playing this song on her flute. The song alternates between the Ondine expressing love for all life that is sustained by her, and chastising us for our callous disregard for the health of the world’s waters.

 

My intent was twofold. First, I wish to share Hexagonal Mode Theory with other composers, and Ondine serves as an accessible work that promotes it. Second, I would hope to raise awareness of the need to do more to protect the water. With all that is happening in the world today, from the poisoned tap water of Flint, Michigan, to the radioactive leakage of the Fukushima reactor into the Pacific Ocean, to the various oil spills and the corporations seeking to permanently own sources of spring water, the health of our water is at risk, and our access to clean water is constantly under threat. Without water, there is no life on Earth…therefore, it is sacred, and access to it is a basic human right. We must do better at keeping it safe and available for future generations. —Kenneth Eggert


Mad Rush to the End, written for Cynthia Krenzel and Thomas Doggett in 2001, has received national and international performances. Dieter Flury said, "Charles Savage arranged his own piece 'Mad Rush to the End' for two flutes. The result is a very effective duo giving the two players the opportunity to produce an unstoppable drive by means of a sort of singular 'super-flute.'" Each of the parts recognize and support each other, as well as challenge the opposite voice to accelerate to a harmonious and united conclusion.  — Charles M. Savage

 

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