Pagodas Sailing in Clouds, for woodwind quartet

 

Title Pagodas Sailing in Clouds

Date of composing September 2017

Duration [3’04”]

Genre piece for woodwind quartet (flute, oboe, Bb clarinet, bassoon)

Style contemporary, ethnic (Chinese), neo-romantic, post-impressionistic

Copyright  © 2017 Natalia Pispini

 

Description

In F.  Adagio arioso. It is music about something vague, obscure and ever-changing like clouds in mountains and objects behind them that appear and disappear. I used pentatonic scales, and so I thought, somewhere in the beginning of working for this piece, that it could be about Chinese pagodas hidden in mountain clouds in motion.

 

The piece is composed with use of contrapuntal technique of imitations and variation technique, and it is implementing different types of the pentatonic scale. It has the form A A1 AA3 where A2 and A3 can be interpreted as a middle section and a recapitulation. There are 3 contrast themes: the ‘calls’ (in the beginnings of each phrase), the theme with contrapuntal ‘flowing’ texture (the ‘body’ of the phrases), and the staccato motifs (in the end of phrases). The ‘calls’ are played with delay which creates the sonoric effect of folk-like playing, a bit out of coordination.

 

Performance notes

No extended technique is required. Flexibility in reading modal scales and non-standard rhythm, good skills of playing within extended pitch ranges, and quick staccato technique (for flute, clarinet and bassoon) are necessary for the best performance of this composition.

Look at the score sample

If you want to play this piece, please contact Natalia.

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Morning Leaves Palette, for flute quartet

Morning_Leaves_Palette_title_

 

In F.

  1. Adagio quasi sognando
  2. 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).

  1. 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.

 

  1. 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.

Performance notes

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.

 

Look at the score samples  1st mvt.    2nd mvt

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.

Natalia

The Gods of Old are Silent – Live Performance

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On 24th June, 2017, my work ‘The Gods of Old are Silent’ (on Lord Byron’s poem) was performed in Orestiada, Greece, during one of the open air recital in frame of the annual music and art urban festival ‘Oresteia’. The performance had been conducted due to the kindness of the administration of the Municipal enterprise of cultural development for public benefit (DIKEPAO), the Municipal music school (Odeio), and its choirmaster and vocal teacher Maria Dimitriadou.

Originally composed for the 2-part chorus, the work had been arranged for two female voices by Maria Dimitriadou (the flute part was omitted).

The performers:

Poem reciting, vocal: Stella Pantou, Dimitra Fydanidou (pupils of the vocal department of the Odeio)

Introductory speech, piano: Maria Dimitriadou

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For the Greek audience, the translation of the English text of the Byron’s poem was made by Dimitrios Pispinis:

Οι αρχαίοι Θεοί είναι σιωπηλοί στην ακτή  

Από τότε που ο μεγάλος Πάν χάθηκε, και με ένα βρυχηθμό    

Από τα νερά του Ιονίου ακούστηκε μία φοβερή    

Φωνή που διακήρυξε «ο Μεγάλος Παν είναι νεκρός.»     

Πόσα πέθαναν μαζί του! ψέματα ή αλήθεια – το όνειρο 

Ήταν όμορφο που γέμισε κάθε ρυάκι   

Με περισσότερο από πτερυγωτούς κατοίκους, και στόλισε    

Δάση και νερά με ντροπαλές νύμφες που περιφρόνησαν 

Τις θεότητες που τις κυνήγησαν, ή στις αγκαλιές  

Με τους θεούς γέννησαν την υψηλή γενιά των ηρώων

Τα ονόματα των οποίων βρίσκονται στους λόφους και στις θάλασσες.

 

It was my honor and great pleasure to be performed first in Greece and in Orestiada.

Read more about this work

Look at the score

Listen to the MIDI (on YouTube)

Purchase the e-score (on Etsy)

…the only lily…

The only lily

This lily pond in a botanical garden in Kuala-Lumpur (Malaysia), probably, was not so bright in the season we had visited it: dry and dying plants, lots of duckweed, reflected grey-coated sky and unclean and humid air around… Yet the pond was very attractive. There were few water flowers left, pure beauty, whose pale white heads stayed obscured and almost unnoticed. Since I am an amateur in photography, I could not make any better photo, anyway it is one of my favorite image from our Malaysian collection. As for music, in my current improvisation I tried to follow that rather gloomy atmosphere and an indistinct beauty somewhere there. I chose a mysterious sound of a woodwinds ensemble, chromatic scale and partially parallel and synchronized motion of ’empty’ intervals.

Title …the only lily…

Genre improvisation (live playing on MIDI-keyboard)

Tasks woodwinds; chromatic scale, fourths / fifths / tritone intervals; expression of gloom and obscured beauty

Duration [3’00]

Date of creating May 15, 2017

Copyright © 2017 Natalia Pispini

(Raw score is available on demand. Also you can order a music of similar style from Natalia)

Watch on YouTube

Transparent Green

TransparentGreen_image

All about spring…

This music was composed right before my completion the course ‘Survey of Music Technology’ in Coursera (Georgia Tech University) in winter 2016/2017. I was eager to test new opportunities which come with EarSketch sound library and sound processing effects in DAW Reaper. My previously composed choral piece ‘The First Dandelion‘ was used here as stretched ‘back-sound’, and some more ‘spring’ sounds were added from the library.

Title Transparent Green

Genre contemporary electronic

Duration [6’36”]

Date of creating December 2016

Copyright © 2016 Natalia Pispini

Watch on YouTube

Listen on SoundCloud

 

In Yellow Waves, for Bb trumpet, alto saxophone and drums

InYellowWaves_title

 

  1. Larghetto e dondolante
  2. Allegretto energico

 Genre contrapuntal pieces

Date of composing October 2014, November 2016 – revised (I); March 2017 (II)

Style contemporary, jazz

Duration [1’57”], [1’47”]

Level of difficulty intermediate to advanced

Copyright © 2014-2017 Natalia Pispini

Description

The idea of these pieces occurred after the trip through the Arabian desert. The highway crossed endless sand-dunes which took bizarre dark-yellow color due to the car’s UV-protected windows. The view of that sand ocean together with the huge sun disk hanging indifferently in the sky had left an unforgettable image. Thus ‘In Yellow Waves I’ was created. Later I composed the second piece, a ‘companion’ with similar conception of undulating melody but contrasting by tempo, rhythm and character.

In both compositions the contrapuntal polyphonic technique of canon (strict or free) was applied. The texture keeps canon fragments coming and disappearing, or it may change intervals. The drums (one player) perform rhythmic accompaniment. Bitonality (I) and bimodality (II) bring more chilly and dissonant sound. Another distinctive feature is the uneven meter 7/8 in the second piece.

The following instruments are used for the drums part:

I – acoustic bass drum, acoustic snare, hi-hat, 2 hanging toms and a floor tom, crash cymbal, ride cymbal, tambourine, triangle, cowbell.

II – acoustic bass drum, acoustic snare, hi-hat, 2 hanging toms and a floor tom, crash cymbal, ride cymbal, China cymbal, tambourine.

To learn the further details, to look at the score and the audio samples and to purchase the scores, please click on the links below.

In Yellow Waves I

In Yellow Waves II

In Yellow Waves II, for Bb trumpet, alto saxophone and drums

 

From ‘In Yellow Waves, for Bb trumpet, alto saxophone and drums

Date of composing March 2017

Genre contrapuntal piece

Style contemporary, jazz

Duration [1’47”]

Level of difficulty advanced

Copyright © 2017 Natalia Pispini

Description

In C/G, Allegretto energico. Waving melody principle once again (after The Yellow Waves I) is employed in this piece. The uneven meter 7/8 together with complex syncopations and accents bring particular drive to this composition. Polyphonic technique of free canon is used (when the voice-follower imitates the interval number and not the quality). Two canon voices – trumpet (leader) and saxophone (follower) – are in different tonalities (C and G) and modes, so the basic canon interval is the fourth but not necessary. In B and A2 sections of the simple quaternary form AA1BA2 the canon intervals are changing, and by the end the canon structure is dissolving. The drums (one player part) accompany the canon.

Performance notes

Quick changes of legato, non legato, staccato and glissando, in combination with ‘jumping’ melody and specific accentuation constitute technical difficulties in this piece for trumpet and saxophone players. The trills are always with the note above, tone or semitone apart. The drums part requires good foot technique.

The drums notation:

InYellowWaves2DrumsNotation

Look at the score sample

Listen to the midi rendering

Purchase the score

Learn about the first piece in the same opus, In Yellow Waves I