- Adagio quasi sognando
- Allegretto fragile
Date of composing August 2017
Genre suite in two movements (slow-fast)
Style contemporary, Neo-Romantic
Duration [5’18”], [2’05”]
Level of difficulty advanced
Copyright © 2017 Natalia Pispini
Idea and musical structure
Looking at the forest foliage in summer morning, I wanted to set those images to music. I thought of different colors of green, their obscure transition and mixture, the sun light coming and illuminating new sites and corners before masked in shadow…
For this task, the quartet of 4 flutes in C, I thought, would be suitable.
The constructive principles of the piece came as the continuation of the idea of a morning leaves palette. It is the ‘mixing’ and ‘blurring’ motifs, and the shimmering of major / minor keys (as similar to lights and shades). The thirds and the sixths intervals in various combinations play important role in the whole construction. While working, I developed at least two different ways of how these principles can be applied, and, in order to display both ways, I composed two movements in slow-fast scheme. The second movement follows the first immediately (attacca).
- Adagio quasi sognando. Consisting of several blocks which are like different kind of images grasped by the sunrays. The blocks, although have different texture, follow certain tonal scheme. Instead of direct joining the blocks I used the technique of ‘blurring’ the borders, when the sound of the following block appears while the previous one still goes, and the sound of the previous block is echoing while the new one comes. Technically, you can create this ‘blurring’ in various ways. Here, for blurring sectors I used arithmetic and geometric rhythmic progressions. The same set of blocks is repeated twice, with slight ‘blurring’ variations, in order to prolong the impressions, to make them yet more static and expository.
- Allegretto fragile. The major / minor keys shimmering and the thirds / sixths intervals are intertwined with polyphonic form based on a 4-voice canon. So called ‘simple’ canon (imitations come at the unison), rhythmically plain, but has structural complications.
The flute players are better to be located spaciously on the stage in order to achieve the stereo effects in some episodes of the 1st mvt., and all along the 2nd mvt.
The 1st mvt. needs exact rhythmic reading. Before the longer notes the short breathing breaks are possible. Legato should be applied everywhere when appropriate.
The 2nd mvt. has moderate volume between mp and mf, and quiets down by the end.
Listen to the MIDI excerpt on SoundCloud
Listen to the MIDI excerpts + score samples on YouTube
If you like the suite and want to play it, please contact me.