Chamber concerto for Piano and Wind Octet
Duration: ca. 13:00
Completed on February 29, 1992 in Ann Arbor, MI. It was performed twice under the direction of the composer by students at the University of Michigan, and twice by the Oberlin Contemporary Ensemble under the direction of Timothy Weiss. One of the OCE performances was at the SCI Conference held in April, 1993 at Cleveland State University. It is dedicated to William Albright.
A definition of "vocabularium" (same as "vocabulary", but in weighty, tome-evoking Medieval Latin) describes it as a system of codes for use. In this work, many non-quotational folk-like tonal and rhythmic codes are encouraged to flourish on the micro-level. Formally, the typical concerto narrative is inverted -- the piano has increasingly less to say -- which is most obvious in the very sedate cadenza of the third movement.
I. Violation - The labyrinthine rhythmic structure constantly creates steady ground and violates it.
II. Voodoo - Marked a "dark, seductive dance", it has the most overt vernacular influence. Also, it exists primarily below the treble clef.
III. Vesper - The opening, again utilizing tiny tonal cells, is intended to represent a set of magical, tonally-shifting set of wind chimes, suggesting an outdoors, eventidal mood. A chorale and list of bell-like contrasts ensue.
IV. Vestige - A brief summary, proceeded to directly from Vesper.
opening excerpt from 1 "Violation"
excerpt from 2 "Voodoo"
excerpt from 3 "Vesper"
© Evan Hause, BMI
The Oberlin Contemporary Ensemble
Gregg Punswick - Piano
Timothy Weiss - Conductor
1 Flute (doubling Piccolo)
1Oboe (doubling English Horn)