Pianist Alessio Bax and bassoonist Peter Kolkay came to the fore, with silky contributions from oboe Stephen Taylor. 1939), represents a major musical contribution from the most talented member of Les Six. The last work of the afternoon, Francis Poulenc’s Sextet for Piano, Flute, Oboe, Clarinet, Bassoon, and Horn (1932 rev. The last movement’s varying tempo indications often hinted at Gershwin and Jazz, a concentrated sonata-form that subsumed a quick waltz and a number of passing moments of bravura to its happy conclusion. The Andante set flute and clarinet in motions taken from a Bach invention, and we could well savor the relative sonorities of O’Connor and Shifrin in amiable harmony. Ibert (1890-1962), noted for his elegant and exotic sense of color, had his musicians engage in whirling figures, a kind of fanfare that had the oboe and clarinet in friendly competition. The last movement, Tempo di Marcia francese seemed to recall the Algerian March of le maitre Saint-Saëns, here a display piece for every member of the ensemble.Īfter intermission, festivities proceeded with Jacques Ibert’s smart set of Trois pieces breves for Flute, Oboe, Clarinet, Bassoon, and Horn (1930). After a jaunty scherzo, the third movement gave us a Theme and (five) Variations of some clever invention. The second theme of the first movement, Allegro assai, enjoyed a buoyant airiness that proved a refreshing bit of humanity after the “academic” Maresz piece. Something of Stravinsky’s acerbic influence permeates this breezy work, a kind of boulevardier’s serenade in four movements. Like his idol Saint-Saëns, Francaix always relies on his knowledge of classical form to convey successfully his musical ideas, which remain light, lithe, athletic, and witty. The first half concluded with the 1948 Quintet for Flute, Oboe, Clarinet, Bassoon, and Horn by Jean Francaix (1912-1997), noted for his user-friendly Concertino of 1934. It lasted a mere five minutes, but it demonstrated only O’Connor’s lofty ability to create “effects” in the most superficial sense. In the manner of a rather percussive etude for flute-and a poor answer to Debussy’s perennial Syrinx-the piece set in motion a steady pulsation interrupted by clicks and short riffs with no melodic extension: Webern gone woodwind. Tara Helen O’Connor took a moment both to unravel the sheet music, taking three music stands as it stretched out like a musical taffy and to explain its aesthetic, which alternates key-click technique with actual pitches. The most modern work ensued, the Circumambulation for Solo Flute (1993) of Yan Maresz (b. The Adagio stood out for its melancholy beauty, while the last movement, Molto allegro e leggierissimo, demanded quick virtuosity from all three principals, with two returns to the folkish material that opened the sonata as a whole, a reference to Emmanuel’s studies with Cesar Franck, the father of French cyclicism. Hazy harmonies dominated this work, reminiscent of Faure but with excursions into Medieval tonality and Debussy, as we find in some of his piano pieces, those that his premier pupil, the late Yvonne Lefebure, used to champion. Music by Maurice Emmanuel (1862-1938) opened the program, his 1907 Sonata for Flute, Clarinet, and Piano, Op. A star-studded roster of musicians-Alessio Bax, piano Stephen Taylor, oboe Peter Kolkay, bassoon Tara Helen O’Connor, flute David Shifrin, clarinet and William Purvis, French horn-proffered five chamber works from various French composers, mostly in the serenade mode, that demonstrated an airy and occasionally lilting sense of ensemble. Then, you have to select the sound effect you want to use with the MuseScore Mixer "Sound" box.“ WINDS OF FRANCE” provided the Gallic rubric for Sunday, Februconcert at The Center for Performing Arts at Menlo-Atherton, Atherton, California. To use the sound effects, you have to load this soundfont inside Musescore Synthesizer and verify it is at the top of the soundfont list. I'm not sure if there is some "full completed" sound effects soundfont, because I don't know if there is some "universal rule" about this.įollowing the Standard General MIDI rules, the soundfont called: "GeneralUser GS v1.471.sf2" has a lot of sound effects.īut, this is not the only one soundfont with sound effects. It is about the SOUNDFONT file you are using.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |