2. Dog, cat, or goldfish?
3. Would you rather…be Super Grover or be Quail Man?
4. You’re trapped on an island. There is one electrical outlet connected to a boombox from 1992. When you were stranded here you only had time to save one cassette out of collection of singles. What is the one pop song you will listen to for the rest of your life?
Nirvana, "Come as You Are"
5. Who are 3 composers from the past -AND- 3 of your own generation whose music you respect, enjoy, inspires you, etc…
Past: J. S. Bach, Sergei Prokofiev, Igor Stravinsky
Present: Kristen Kuster, Elainie Lillios, Ted Hearne
Half Moon Nocturne (2007) for Clarinet in B-flat, Bassoon, Horn in F, Piano, Violin, Viola, Cello & Bass. I like that "coolness" of the instrumentation, to use a Stravinsky-esque term. The sonorities created by the combination of bassoon, horn, and double bass are really pleasant. The ending is beautiful. Really paints a picture.
I have to say the beginning was a fake out. A few posts ago I talked about the single note coming from nothing and disappearing to nothing to start a piece as a pet peeve. I almost thought this was beginning like that but the note snaked away at the last minute. It led somewhere and propelled the music forward. I was a nice way to start a piece.
Wild Silk (2009) for baritone sax, percussion, and piano. From the percussion standpoint, I really, REALLY like that the set up keeps evolving. I suppose if I saw this piece, I would know all the instruments from the start. But, just listening to a recording, the pacing of using new instruments is really satisfying. The beginning works as a bari solo with percussion and piano accentuations and timbral support. I really dig that.
Andrea writes this about the piece:
While composing this work, I found inspiration in the strikingly beautiful and elusive Luna Moth. The form of this piece loosely follows the three stages of its life cycle from egg to caterpillar, pupa, and adult moth. Apart from the constant threat of predators, the violence at each stage surprised me. As the caterpillar grows, it must break through its own skin five times. The pupa wriggles from within the cocoon during metamorphosis. The adult moth is deprived of a mouth, meaning there is an evolutionary preference for beautiful wings to attract a mate over personal survival. Without a way to nourish itself, the hours and days following eclosion are focused on the crazed goal of propagation. Perhaps it is a metaphor for the artist, who must completely renew and reinvent themselves over and again.
In my last few pieces, I've been taking a lot of information from nature and working it into my music. It is great source material, as we can hear in this piece. It also gives the music a sense of otherness about it that I am always looking for when listening to new music. Music that does not have something guiding it, other than the composer's brain, has been failing a little flat for me, lately.
I really enjoyed the fast music parts of this piece. Lately, I've been struggling on how to write fast music. It seems like I've gotten into a rut and all my fast music starts sounding similar. Andrea's fast music has a lot of energy but doesn't fall into the perpetual motion machine. It is exciting and keeps me very interested.
The last minute is absolutely perfect. Great ending!