CLARINET – Quartets and Mixed Ensembles
Quartets:
The Golden Goose (6/21/21) for narrator and clarinet quartet – 20’00”. This story involves the triumph of a good heart and an honest character. It is true there is magic involved and a good bit of luck leading to that success.
The golden goose is a symbol of obsession. The moral of the story is not to become too attached to the pursuit of a feeling (Dunstan’s family’s sense of superiority), a thing (the innkeeper’s daughters’ greed for gold), or an idea (the preacher’s righteous indignation). There’s no telling where the obsession will lead, dragging everyone with it and not letting go. Live Recording.
Hide and Seek (10/26/18) for quartet of clarinets [3 soprano, 1 bass] – 4’20”. This cheerful work is a piece of program music. Imagine three games of hide and seek. In each game, the first clarinet seeks and the other three hide. The first game begins with a short introduction (counting as performers hide). It is followed by the first clarinet seeking the others (in long notes) as they chuckle and scramble about while not being found. It ends with “All-ee, All-ee, in free” – successive sustained Cs in rising octaves by the first clarinet and rising staccato figures by the others as they come in free. The second game is longer and begins more aggressively with running passages from the first clarinet. In this game the first clarinet finds the second clarinet, and they join, as a duet, in the hunt. Mocking calls (in dotted rhythms) from both pairs result in the third clarinet being found. But the bass clarinet remains hidden, leading solo passages against the upper voices. The game ends with the bass clarinet still free. The last game begins immediately with a return of the counting introduction. Here, however, the first clarinet is not as happy, having lost the previous games, and the themes are heard in minor. Although this game is destined to end like the first game, everything returns to major. The point, after all, was to have fun. MIDI Recording.
Dichotomies (10/30/15) for clarinet quartet – 12’20”. There is an obvious character change between the first and second movements, the former starting with drive and energy, while the latter is almost static at its beginning. The first movement alternates between bright vivo and contemplative andante sections. The second movement contrasts the pianissimo falling thirds against the louder and more energetic solo melodic lines. The third movement pits a rising fanfare against falling pairs. The challenge for performers consists of making each idea sound continuous even when switching abruptly from one idea and one dynamic level to another. The first movement can be heard in a Live Performance by the Clarinetics. The complete work can be heard in a MIDI performance.
Mixed Trios:
Ambitions (12/28/21) for clarinet, cello and piano – 10’45”. It is a funny thing about ambitions. Sometimes what one wishes to achieve is clearer in one’s head than it is in reality. This piece plays with that ambiguity. The first movement, Persuasive Oratory, suggests clarity and directness of expression, but the reality is chromatic with a tonality that does not match its key signature. The funny title aside (How to Be-a Scherzo and Tri-a), scherzo and trio movements have traditionally followed a strict form. How can one alter and update this form without losing its essence? The final Jazzy Jig sounds like a jig for 32 measures. Then, the clarinet does a rising slide and all bets are off. Is this really a jig? Probably not, but it is a rousing finale. MIDI recording.
Trio for Oboe, Clarinet and Piano (5/6/20) 16’00”. The work is in four movements. The first movement begins with an Adagio. A more heavily scored Allegro follows leading to a prolonged cadenza-like duet for the winds based on previous themes. The second movement is a five-part rondo – ABACA. It is characterized by an upbeat opening in compound duple meter. The third movement is slow, quiet and contemplative. The fourth movement is a five-part rondo that begins with a heavily scored, repetitive pulsing from the piano, a sustained part for clarinet, and a rhythmically active part for the oboe in a high tessitura. MIDI recording.
Youthful Spirits (1/25/16) for clarinet, cello and piano – 8’00”. Youth often see the world as alive with new adventures. It is that spirit that I wished to capture in this work. The opening allegro is a cheerful setting with varied meters. The two sections appear in various guises to create variety, and the asymmetry of the sections makes the mood especially jaunty. The second movement is very slow. The mood is both calm and leisurely. The finale is a straight-forward march. MIDI recording.
Variations (6/12/15) for violin, clarinet and piano – 4’10”. “Variations” is based on an eight-measure, original theme in C major. There are eight variations, divided into four groups: the theme and first two variations, the third variation, the fourth through sixth variations and the seventh and eighth variations. After this the theme returns with a very short codetta. MIDI recording.
A Color Palette (9/2/14) for violin, clarinet and piano – 13’00”. Colors suggest different moods. “Alizarin Crimson” is a bold, punchy color suggesting drive and excitement. “Prussian Blue” is cool and contemplative. “Burnt Sienna” is solid and earthy. These were the inspiration for the three movements in this work.
Live performance. The work was premiered at the Southeastern Composers League Forum in Lexington, Virginia, at Washington and Lee University on March 24, 2017, by Noah Karkenny, clarinet, Jaime McArdle, violin, and Anna Billias, piano.
Noah Karkenny, clarinet
Acadia Trio (3/18/14) for clarinet, viola and piano – 11’40”. This piece pays tribute to Acadia National Park. It is one of the most beautiful of the national parks in the eastern United States. The rock-bound coast of Maine can be quite wild, especially at “Thunder Hole” (the first movement) where giant waves off the Atlantic often pound the shore creating massive sprays. The second movement reflects the calm, almost meditative mood of visiting “Eagle Lake.” Although only about 1500 feet tall, “Cadillac Mountain” is the tallest point on the eastern seaboard. The view from the top is spectacular. This movement attempts to capture the majesty of the mountain and the awe of seeing nature at its most magnificent. MIDI recording.
Sonatina for Three Instruments (2012) for clarinet, viola and piano – 8’40”. Sonatina for Three Instruments begins with “Misplaced Rondo” in which the principal theme is not the first theme heard, but the second. The overall form is a seven-part rondo with introduction. The other two movements need little explanation. The “Interlude” is a simple ternary slow movement, and “Rhythmic Dance” is a sectional form. MIDI recording.
Mixed Quartets:
Mood Rondo (4/20/23) for quartet of flute, clarinet percussion and piano – 7’00”. The form of the piece is roughly that of a seven-part rondo in which the opening theme is interrupted by several contrasting themes but reappears between them. However, my focus was not on form but on emotional impact. Each section creates its own mood. For instance, the sections with tom-toms are tense compared to the lighter, more lyric sections featuring vibraphone. Overall, the work proceeds from darker to brighter emotions. MIDI recording.
Gallia est omnes divisi in partes tres (3/2/21) for clarinet, 2 violins and cello – 9’30”. The title of this work is a short form for the Latin quote that opens Julius Caesar’s book De Bello Gallico. “Gallia est omnes divisa in partes tres” translates as “Gaul is all divided in three parts.” Each of the parts is represented by a movement of this piece. I. Gallia Celtica: This was the largest part of Gaul and perhaps the least civilized. Celts reportedly fought naked in battle and terrorized their enemies with fierce war cries. II. Belgica: Julius Caesar called the Belgae the bravest and strongest of his enemies. Indeed, his army suffered its worst defeat against them. III. Aquitania: Caesar referred to the people in this area as “long-haired Gauls.” My own ideas of Acquitaine center around Eleanor, the great queen from the Middle Ages. When I added her, the basis for a rollicking finale took shape. MIDI recording.
Ionic Motion in Alkali Borate Glass (2/10/18) for oboe, English horn, clarinet and marimba – 6’20”. The single largest use of boron compounds in the world is the production of certain types of boron-treated glass fiber for insulating and structural fiberglass. This piece attempts to portray the interior of an alkali borate glass sample using sounds. The glass structure itself is vibrating and is represented by variations in the background created on the marimba. One can imagine the ionic motion more as jumps than fluent movements. Thus, the wind parts often move by large leaps. Musically, the meeting of positive ions becomes the meeting of musical instruments on the same pitch, which causes an abrupt breakdown of all existing patterns before the marimba resumes its variations. Negative charged oxygen atoms are favored by the positive atoms, shown in the piece by converging musical lines from the winds that end without forming a unison, followed by repeated dissonant chords. MIDI recording.
Sheraja Lashadachka i Bulba (1/22/18) for clarinet, violin, viola and cello – 7’40”. Parts of this work are based on two folk songs from Belarus. I found delightful performances of both on the internet. “The Grey Horse” (Sheraja Lashadachka) was played by Valentina and Alexander Kozak (Kozak Family Trio) and “Zhivicca.” “Potatoes” (Bulba) was arranged by Dmitri Slepovitch and performed by the Simcha Jewish Youth Music Theater (Minsk), Elizaveta Khaskina, Artistic Director and Conductor, in a video courtesy of Limburg TV, the Netherlands, 2009. This rendering of the folk music begins with a pensive clarinet solo over the strings that is interrupted by the “grey horse” melody. The clarinet’s melancholy statement continues, changes tempo and introduces fragments of “potatoes” that leads to a full statement of the melody beginning with the violin. The “potato” section includes new material, ending with a ritard and a return of the pensive clarinet. The “grey horse” section follows, eventually moving back and forth between the two folk melodies before ending quietly with the “potato” theme. MIDI recording.
Allegro Quartet (1/16/18) for clarinet, violin, viola and cello – 12’30”. This piece is about energy, and in a way, about the varied meanings of allegro. It is lively, even in its “slow” movement, and uses a variety of textures and figuration to remain fresh and cheerful. The opening movement, marked allegramente (nimbly, lightly, vivaciously), creates its energy from syncopation and unexpected chromaticism. A middle section provides some relief from both the syncopations and the chromatics. The second movement begins and ends slowly. However, even here, the thirty-second note runs prevent a complete sense of ease. At the allegro assai, the clarinet introduces a syncopated figure. This figure grows into an accompanied fugue. A slower, chordal is interrupted by a very folksy melody from the clarinet against pizzicato strings. The allegro assai returns before movement ends slowly. The final allegro resembles a movement in a concerto grosso with a four-measure ritornello. The first solo is a lively melody from the clarinet. Each instrument, in turn, has a solo that speaks in its own voice. At the end, the clarinet’s first melody is played by pairs of instruments before the final tutti. MIDI recording.
City Life (1/5/18) for clarinet, violin, cello and piano – 5’30”. Life in cities and their neighboring suburbs is both hectic and somewhat repetitive. Daily tasks, whether work or home related, require a certain diligence and the ability to adapt quickly. In this piece, hectic elements often overlay steady, straight-forward melodic patterns. The steady melodies represent diligence in the face of varied conditions. Sometimes there are moments of joy or brief respites of peace, but the pace of life continues. The pace of life itself may be what is attractive about city life. It makes the day-to-day routine worth the effort. MIDI recording.
April Nights (5/6/13) available for flute, clarinet, viola and cello or flute, clarinet, horn and bassoon or flute, clarinet, viola and bassoon – 5’00”. Spring is a time of renewal and growth. This work takes three simple ideas (one lively and rhythmic, a second using sustained rising fifths, and the third a flowing melody) and combines them in different ways to capture the freshness of early Spring evenings. MIDI recording.
Perceptions of Time (3/24/13) for violin, clarinet and two marimbas or two clarinets and two marimbas – 10’50”. The work is inspired by the first movement, “Tempus fugit”. I was struck by the illusion of speed, of the notion that “time flies.” The repeated notes from the marimba and the rapidly rising material first heard from the clarinet and marimba create a sense of driving motion. A slow, middle section acts as a respite or island of calm. “Fleeting Interlude” is an adagio movement. “Dream Time” begins quietly, as sleep begins, with the clarinets in a dialog. A recurrent theme interrupts from the two marimbas acting as punctuation between the remaining “dream” states. There are five “dream” states in all. The last of these is a duet between the clarinets with a simple, chordal accompaniment passing from one marimba to the other as the music becomes quieter. MIDI recording.
Grandma’s House (3/19/13) for Flute/Piccolo, Clarinet/Bass Clarinet, Violin and cello – 8’30”. The work was inspired by memories of visiting my grandmother’s house. The four movements are “The Hidden Attic Entry” with its sense of mystery, “The Squeaky Rocker” and its sing-song rocking, the squeaky “The Foot-Bellow Reed Organ” and “The Crowded Cubby” with its overlapping lines. MIDI recording.
Mixed Quintets:
Little Symphonette (8/6/17) for flute, oboe, clarinet, bassoon and solo timpani – 10’30”. The piece consists of four short movements. Throughout the work, the timpani play a major role, somewhat akin to a soloist. To the extent that there is a program, the timpani player is its protagonist. “Arrivals” begins the story. There is an element of anticipation in the opening with its composite rhythm of nearly unrelenting sixteenth notes. A contrasting slow section begins with a dialog between winds and timpani. “Relationships” starts with quarter-note movement in the woodwinds and the timpani in the background. A timpani solo interrupts before the opening returns. “Dance” puts the timpani in charge again. The timpanist is challenged by frequent, fast pitch changes that require muscle memory tuning. “Finale” begins with a fanfare motive that is reinforced by the entry of the timpani. MIDI recording.
Strawberries at Center Court (7/3/16) for flute, oboe, clarinet, trumpet and piano – 5’50”. The title, of course, indicates Wimbledon. I composed this work during the 2016 competition, shortly after the Brexit vote. I’ve always been a little amazed that the general populace keeps going with the same sense of well-being regardless of political circumstance, perhaps explaining why this work is upbeat. The relation of the work to Wimbledon is simple. The tournament is a celebration, only briefly interrupted by more somber thoughts of the world beyond. MIDI recording.
Mixed Sextets:
Concerto for Clarinet and String Quintet (4/23/20) 15’00”. The first movement, Passion, begins with a cadenza for the clarinet. The first theme at the entrance of the strings is somber and tense. The second movement, Frustration, begins with a jagged but sustained melody in the lower strings answered by descending scales from the clarinet. Dissonant chords follow along with a string accompaniment related to rhythms from the first movement. The entire second movement develops from these elements, ending with another clarinet cadenza. The third movement, Jubilation, is a light, cheerful rondo. It features wide leaps and arpeggios in the clarinet part, things particularly suited to the instrument. MIDI recording.
Mixed Octets:
Citta di’Udine (2010) for flute/piccolo, B-flat clarinet/bass clarinet, percussion, piano and string quartet – 7’40”. This work is based largely on memories of a stay in Italy in 1975. I was staying with friends in a villa in the hills about five miles from the city. We were young, and it was the first time in a foreign country. Everything was an adventure, whether it was searching for portabella mushrooms in the forest or buying bread and cheese in the open market. This piece attempts to capture the joy of youth and adventure when everything was new, and life appeared to have no limits. MIDI recording.
Mixed Nonets:
Reflections in a Time of Pandemic (7/5/20) for piccolo, flute, oboe, English horn, clarinet, horn, trumpet, tuba and piano – 6’30”. The work begins with the fugal entry of the very quiet main theme with its disjunct rising sevenths and falling thirds and sixths by clarinet, horn and tuba. The mood of the music oscillates between unease and fear. From the outset, it falls short of being peaceful. The effort to maintain calm becomes more complicated. It culminates with the opening gesture played loudly against accented, dissonant, pyramidal sevenths. The last statement is not fugal and begins calmly against descending sixteenth-note gestures. The theme is stated chordally, and the mood remains calm, even against the piano ostinato and oscillating half steps. MIDI recording.