Just finished this piece right before I leave for vacation tomorrow! A black and white version will be featured in my friend’s zine, more info on that later. 16x20” print available by request.
8x10” Print of Crow Effigy
Ludwig Minkus's Ballet La Bayadère (Bayaderka).
Act I. No. 5 Andante sostenuto
Act I. No. 6 Moderato Assai
Act I. No. 7 Allegro Molto
Shostakovich in his study. Late 1940s.
Ellen Taaffe Zwilich
I’ve already featured the music of Ellen Taaffe Zwilich, a contemporary American composer, and make no apology for including here again, since I’m firmly of the opinion that her music is of considerable significance. This was the work which brought her to my notice – hopefully you’ll agree that it’s music which makes you sit up and take notice (even if it does it scant justice by lifting this single movement from her Clarinet Concerto). Ellen seems to have a particular affinity with the clarinet, incidentally, since here Clarinet Quintet is also well worth a listen, and was the work which prompted the commission for the Concerto.
Zwilich had already begun her Concerto for Clarinet (commissioned by the Arlene and Milton D. Berkman Philanthropic Fund) by the time the 9/11 World Trade Center attacks occurred. In his review of the 2003 world premiere performance of the piece, Peter G. Davis of New York Magazine observed: “Like everyone else, composers were badly shaken by 9/11, and their musical responses are beginning to be heard. (This work) would surely have turned out to be quite a different piece had not the fatal date arrived just as she was about to start work on the second movement. That inevitably became an elegy, and the subsequent two movements grew from there. Astonishingly, as heard at its world premiere in Alice Tully Hall performed by clarinetist David Shifrin and twelve members of the Chamber Music Society of Lincoln Center, the entire piece shows no sign of sudden gear-shifting. The instrumentally brilliant opening is brash, hectic, and streetwise, the perfect picture of a city going about its business until stopped in its tracks. After the scream-punctuated lament, the rest of the work struggles to pick up the pieces and restore a semblance of normality, ending on a note of cautious optimism. It’s all done with the most skillful application and development of its musical materials — a score truly inspired by a tragic event and one that is likely to transcend it.”
I enthusiastically endorse every word Mr Davis says.
You know how when you audition, sometimes the judge will give you a little bit of time to “play something” before the audition (to warm up the horn and get used to the room)? What do you usually do? I feel like this is something I should be taking advantage of, but when it comes to it I panic and…
I’m sad because I accidentally deleted Mozart. I’ll find him again.