Weaves and Tangles, for flute

Weaves_and_Tangles_common_title

 

Date of composing February 2018

Duration [3’53”], [2’44’’], [4’28’’]

Genre  character pieces for solo flute

Style contemporary, neo-romantic

Level of difficulty advanced

Copyright   © 2018 Natalia Pispini

1. In G. Allegro e Adagio. 2. In B flat. Allegretto spensierato. 3. In G. Moderato scherzando

Inspirations

The weaving lines of my artworks ‘Reused Wood Lace’ served as a primary source of inspiration for this music. The fragments of those artworks were also used to decorate the score covers and the media clips. I thought of weaving, bending and intertwining branches like motifs melodically wavy and rhythmically expressing kind of interrupted regularity. As for character, this music can be interpreted as abstract pictures (with scattered dots, curved lines and complex shapes). Or one could describe it in terms of changeable mood, capricious sensitivity, or elegance of weird dancing. Or maybe it is just ‘voices’ of the nature like birds, springs, winds, whisper of leaves, veiled and passed through the filter of individual musical ‘vision’ …

Musical structure

All pieces are stylistically similar and have the same composing principles of rhythmic changeability, metric instability, and gradual modification of scales.  The melodies are based on symmetrical or non-symmetrical scales, but the diatonic foundation and tonalities are recognizable. The variety of rhythmic patterns was applied (symmetrical, additive, divisive etc.). The musical structure is free form in piece No.1, and ternary form in pieces No.2 and 3.

Performance notes

Three pieces are independent and aimed to be performed separately, but it is possible to play them successively as a cycle. No extended technique is needed. Nevertheless, many rhythmical and textural challenges claim for the advanced level of difficulty.

! These works can be commissioned or / and performed. To get the score(s) for your performance please visit my contact page and apply providing all required information. The scores are free of charge.

Look at the score samples:

Weaves and Tangles 1

Weaves and Tangles 2

Weaves and Tangles 3

Watch the scores with computer-generated sound on YouTube :

 

 

 

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Our Best Wishes, for woodwind quartet and percussion

 

Title Our Best Wishes

Date of composing December 2017

Duration [2’34”]

Genre  piece for woodwind quartet (flute, oboe, Bb clarinet, bassoon) and percussion for 2 players (triangle, tambourine, cowbell, glockenspiel)

Style Neo-Renaissance

Level of difficulty intermediate to advanced

Copyright   © 2016 Natalia Pispini

 

Inspiration and musical structure

Allegretto giocoso. In G. The work is about winter celebrations, and there were three major sources that inspired me in composition.

One is my remembering of Russian snow, its sound when you walk over, its smell, and a very special mood which you experience in winter when the New Year day is coming soon.

The second source is my impression after the Greek carols kalanda. Nowadays, they are still performed in Greek villages. Young boys and girls, or very small kids wander around in neighborhood, knock the doors and sing kalanda where they express good wishes to the householders. The singers accompany themselves with metallic triangle trigono, or framed drum tumbeleki, or even bagpipe gaida. Many of those songs are coming from the Byzantine past, bearing the old musical style connected with natural and church modes, or with regular rhythmic patterns-formulas etc. Greek kalanda may have uneven rhythmic schemes which are common in Balkan music.

The third source is Renaissance Italian genres like frottola and madrigal.

The character of the piece is light, merry and joyful. I imagined kids playing light percussion instruments, singing their wishes with light and high voices. The rhythm is uneven 7+7/16.  The unevenness brings an elegance and some ethnic nuance, and  it refreshes the normal 6/8 basic scheme. The harmonic structure is simple and consists of the triads passing from one tonality to another.

The ternary form /:A:/BA2 has repeated interludia sectors.

Performance notes

Rhythmic accuracy, perfect synchronization in time and manner of playing (legato, staccato and tenuto) are important. It is possible that the parts of triangle, tambourine and cowbell can be played by one musician if these instruments are framed.

Look at the score sample

! This work may be commissioned or/and performed. If you want to play this piece, please contact Natalia. In your message, kindly provide some information  (brief introduction, ensemble title, website, contact details). The score, parts and all necessary material will be sent to you within a week.

 

Explore my works for chamber ensembles

Over Cool Waters Bridge, for chamber ensemble (flexible score)

 

Title Over Cool Waters Bridge

Date of composing  November 2016

Duration   [3’22”]

Genre piece for chamber ensemble with flexible score: flute, oboe (or Bb clarinet), bass clarinet (or bassoon), contrabassoon (or double bass), harp (or 4 guitars), celesta and harpsichord (or piano for 4 hands)

Style  romantic, ethnic (Asian)

Level of difficulty  from beginner to intermediate

Copyright   © 2017 Natalia Pispini

 

Description

A minor / A major. Allegretto grazioso.

This music is about meeting the past love, hope and dreams. Everything is gone, yet there are sweet memories. Keeping them through the cold waters of broken relationships is the key for the future recollecting the soul.

The use of contrapuntal imitations and pentatonic scales are the main composing technique of this piece. The form is strophic ABA1B1.  The texture is transparent, and the rhythm is limited up to several durations only (like in some Japanese or Chinese folk music styles).

 

Performance notes

Although the composer thinks the original scoring is the best to achieve the desirable sound effect and the fragile mood of this composition, it can be played by different instruments defined in the description above. The tempo should be kept the same from the beginning to the end. The manner of playing is expected to be slightly emotionally distant, subtle and elegant. It is suitable to play for musicians with various background experiences, as well as for amateurs.

 

Look at the score sample

Watch YouTube clip

! This work may be commissioned or/and performed. If you want to play this piece, please contact Natalia. In your message, kindly provide some information  (brief introduction, ensemble title, website, contact details). The score, parts and all necessary material will be sent to you within a week.

Explore my other works for chamber ensembles

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 (Asian), neo-romantic, post-impressionistic

Copyright  © 2017 Natalia Pispini

 

Description

In F.  Adagio arioso. This is about something vague, obscure and ever-changing like clouds in mountains and objects behind them that appear and disappear. During the process of composition the images of distant beautiful pagodas came to my mind, which are 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 also 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

Listen to the MIDI-generated excerpt on YouTube

! This work may be commissioned or/and performed. If you want to play this piece, please contact Natalia. In your message, kindly provide some information  (brief introduction, ensemble title, website, contact details). The score, parts and all necessary material will be sent to you within a week.

Explore my other works for chamber ensembles

The Gods of Old are Silent, on Lord Byron’s poem for 2-parts chorus, piano, and flute

For a long time I wanted to compose a choral work with English lyrics but related to Greece. Among the first things there was Lord Byron’s philhellenism that came to my mind, and after searching I found one of his poems, a passage which is practically unknown. It looks rather like an unfinished draft, but the more I was reading it, the more impact it had on me. At once, this rough but yet genius fragment had given to me what I was seeking for: a retrospective view where great Greek mythology, history and spirit of freedom would be condensed just in few lines. Thus I’d made my choice. The choral song is easy to perform, it has only two choral parts (soprano-alto and tenor-bass). The flute pastoral solo (reference to ‘the mighty Pan’) had been added to the classical chorus+piano ensemble as an option.

Structure and technique

The song is in C major, Con moto e narrante. The lyrics are Lord Byron’s passage from his unfinished poem ‘Aristomenes’ written in Cephalonia island in September 1823, shortly after his arriving to Greece to help the Greek people in the liberation:

The Gods of old are silent on the shore.
Since the great Pan expired, and through the roar
Of the Ionian waters broke a dread
Voice which proclaimed “the Mighty Pan is dead.”
How much died with him! false or true—the dream
Was beautiful which peopled every stream
With more than finny tenants, and adorned
The woods and waters with coy nymphs that scorned
Pursuing Deities, or in the embrace
Of gods brought forth the high heroic race
Whose names are on the hills and o’er the seas.

The musical form is free and reflects the text. Natural modes have been chosen as the appropriate for the solemn, epic character of the piece. The phrases are evenly distributed between female and male voices to provide the easiness of singing of choral texture, and that makes the work suitable for amateur singers (while the piano and the flute parts should be considered of intermediate level of difficulty).

Performance notes

The performance is expected to move in moderate tempo and strict, stable rhythm. The flute part is optional and can be omitted.

Date of composing March 2017

Genre choral song for mixed 2-parts chorus, piano and flute

Language English

Style Neo-Romantic

Duration [2’20”]

Level of difficulty beginner or amateur chorus

Copyrights music: © 2017 Natalia Pispini; George Gordon Byron’s poem ‘Aristomenes’ from public domain (https://en.wikisource.org)

Look at the score sample

Listen to the MIDI-rendering on YouTube

! This work may be commissioned or/and performed. If you want to play this piece, please contact Natalia. In your message, kindly provide some information  (brief introduction, collective’s title, website, contact details). The score, parts and all necessary material will be sent to you within a week.

Previous performances: The first performance was on June 24, 2017, in Orestiada, Greece. read more…

 

Explore my other choral works

…that is why the white bird is hiding from people…(improvisation)

That is why the white bird is hiding from people

It was difficult to take a photo of this enigmatic white bird sitting quietly among the palm-tree leaves. But eventually we got it! We walked inside of Bahrain, in province, where there are plenty of whispering palm-trees and joyful birds. It was winter, the best season there…

The image had inspired me for new genre: an improvisation on MIDI-keyboard. Each would employ particular timbres, rhythms, melodic patterns etc. Here it is solo flute and Arabic maqam Bayati, interpreted in free, non-traditional way. Great exercise! Also great way to give the second birth to those numerous photos collected during our trips.

Title …that is why the white bird is hiding from people…

Genre improvisation (live playing on MIDI-keyboard)

Tasks flute; non-traditional approach to maqam Bayati; expression of anxious and shy character

Duration [2’06]

Date of creating April 30, 2017

Copyright © 2017 Natalia Pispini; CC BY-NC license (for non-commercial use)

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

Watch on YouTube