Peter Sheridan, low flutes

Patrick Neher, double bass

Chanwook Park, piano

“Four Etudes” for Low Flutes                                                                Arr. Peter Sheridan

(From Melodic Studies by Hilary Taggart, Demerssemann, and Kohler)

    Winter Sun (Alto Flute)                                                            Hilary Taggart

    Andante Grazioso (Bass Flute)                                                            J. Demersseman

    Allegro Vivace (Bass Flute)                                                            J. Demersseman

    Allegretto Vivo (Contrabass Flute)                                                          E. Kohler

‘City Vignettes’ (2008)                                                                    Patrick Neher

for Contrabass Flute, Double Bass and Piano*

    Corner Encounter

    Lunacite

    Block Party

“Below” for Contrabass Flute and Electronics*(2008)                        Alex Shapiro

1. Far below the surface is a stunning world of liquid beauty and grace.
   

2. Hidden from our eyes and even our imagination, this private sanctuary
   

3. envelopes life and hope. Follow your ears and your heart to the depths
   

4. of a place we sometimes forget to look.             - A. Shaprio
   

Elegy (Contrabass Flute and Piano)                                                      Bruce Lawrence

Small Sonata for a Large Flute (2008)*                                                  Gary Schocker

1. Moderato
   

2. Larghetto
   

3. Allegro Giocoso
   

*Commissioned work by Peter Sheridan (2007-2008)

Program Notes: (Mis)ConceptionsPeter Sheridan

‘Four Etudes’ for Low Flutes are adaptations of popular Flute studies, and are designed to motivate and assist the serious player to practice outside of the normal pitch, rhythmic, dynamic, and technical range of these instruments. ‘Winter Sun’ comes from a book of etude-pieces by the British composer Hilary Taggart, and sits wonderfully well on the Alto. Adapted to highlight and expose the challenges of middle and low register articulations, as well as maintaining an even and consistent melodic line throughout the relentless rhythmic pattern. Demersseman’s ‘Andante Grazioso’ showcases the timbral varieties found within octave ranges of the bass flute. Its long lyrical phrases are well worth the effort of air and embouchure control. I have changed the form of the piece by adding a repeat with melodic ornaments in the lowest register. The ‘Allegro Vivace’ displays a burst of finger technique that is not common to the bass flute repertoire, yet well suited in building virtuosic stamina. The finale etude comes from one of my favourite composers of the genre, Ernest Kohler. Inspired by Matthias Ziegler, master Low Flute virtuoso, I remember listening to a recording of him playing Contrabass flute, and asking myself, how will I ever be able to play that fast on the Contra? What can I practice to build that technique? After searching the limited repertoire, I eventually found the answer in this study, though I am still trying to play it! An outright monster to hold, and physically control, the contrabass flute has great tendencies to crack the tone around middle E, which is prevalent throughout this study. The A major coda is an exercise in rhythmic definition, as the sound usually speaks a fraction after played on Contra. Can you hear the cello? The Contrabass Flute plays the same range as the cello.

Far Below the surface is a stunning world of liquid beauty and grace. Hidden from our eyes and even our imagination, this private sanctuary envelopes life and hope. Follow your ears and your heart to the depths of a place we sometimes forget to look.  – A. Shapiro

An Elegy, originally a poem of mourning, set by the ancient Greeks, reflects three stages of loss. First, the ‘lament,’ then ‘praise and admiration,’ and finally ‘consolation and solace.’ In this transcription (from cello), by the Australian composer Bruce Lawrence, I was inspired to highlight the unique range and expressiveness of this flute known as the gentle giant. The haunting and touching melody, filled with the emotions of pain and relief, are clearly shaped by the simplicity of the three stages mentioned above.

Gary Schocker, flutist, composer, and pianist is most likely a household name amongst flute players. With numerous published works, he has an active teaching studio in New York City, and tours and presents masterclasses throughout the World. In 2001, I asked him for a flute quartet composition, and his flute quartet no. 1 was the outstanding result. Having the great fortune to have studied with him for a short period, I realized flute playing was not all about the flute! In this new work for Bass Flute and Piano, Gary finds the means to take listener (and performers) on a journey through color, and texture. The first movement beginning with a folk-like melody and transforming through meter and range, the simple yet effective design of form, gives the sense of something more to come. The second movement speaks from the heart, as the composer was dealing with the death of a loved one. This pain becomes clear, as we hear an anguished cry in the 3rd register of the flute line. Notice the extensively long pedal tones in the bass flute line, and how the piano line affects their coloring. The Giocoso is the release valve from the sadness and weight of the second movement. Its dance never ends and the little motive sticks with us, long after the piece has finished.