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Aaron Jay Kernis

Publisher: G. Schirmer

Flute Concerto (2015)
Work Notes
Certain restrictions apply.
Publisher
AJK Music
Category
Soloist(s) and Orchestra
Year Composed
2015
Duration
25 Minutes
Solo Instrument(s)
Flute
Programme Note
Aaron Jay Kernis Flute Concerto (2015)

Score




This new flute concerto was written especially for Marina Piccinini and inspired by the beauty and elegance of her playing.

I consider that the work is in two halves - one dark and the other light. The darker includes the two longer movements I. Portrait and III. Pavan — and the lighter and shorter II. Pastorale-Barcarolle and IV. TaranTulla.

The movements are very connected to each other musically, and share ideas between them that keeps the musical thread continuous, even with the varied feel of each movement. Some elements the movements have in common (with the possible exception of the last) is that each begins with calmly and wind up spiraling out of control in some way. Three of the movements are based around dance rhythms from centuries long past. Pastorale is a gentle dance of the land and field, Barcarolle evokes the undulating music of a gondola traveling on water, Pavan is a slow, dignified dance in double time (though I have set it in triple!), and a Tarantella is a continuously fast dance in 6/8 that often accelerates. "Tarantism, as a ritual, has roots in the ancient Greek myths. Reportedly, victims who had collapsed or were convulsing would begin to dance with appropriate music and be revived as if a tarantula had bitten them."

I. Portrait travels through many moods and characters. Is it a portrait of the flute or flautist? or of the composer?
II. Pastorale-Barcarole begins as a gentle Italianate dance then repeatedly shifts to faster, more energetic and virtuosic music. Mandolin-like strains are heard.....
III. Pavan starts as a gentle, expressive line traded between flute and oboe, then gradually is intercut with fast outbursts that turn into music of a Bacchic near-frenzy before returning to its opening.
IV. Finally, TaranTulla is a virtuoso romp, influenced by the flutist-leader Ian Anderson's classic rock group, Jethro Tull (but more out of the blues-side of their music, less out of the rock...)

The work is dedicated to Marina Piccinini with warmth and admiration.

-Aaron Jay Kernis


Performances
Date
Title
  • 15 APR 2017
    Baltimore, MD
    Peabody Conservatory
    Leonard Slatkin, conductor
  • 11 FEB 2017
    Royal Festival Hall, London
    London Philharmonic Orchestra
    Marina Piccinini, flute; Andrés Orozco-Estrada, conductor
  • 04 AUG 2016
    Chautauqua, NY
    Chautauqua Symphony Orchestra
    Joanne Falletta, conductor
  • 04 FEB 2016
    Rochester, NY
    Rochester Philharmonic Orchestra
    Marina Piccinini, flute; Ward Stare, conductor

    Other Dates:
    6 February - Rochester, NY
  • 22 JAN 2016
    Detroit, MI
    Detroit Symphony Orchestra
    Marina Piccinini, flute; Leonard Slatkin, conductor

    Other Dates:
    23 January - Detroit, MI
  • 21 JAN 2016
    Flute Concerto World Premiere
    Detroit, MI
    Detroit Symphony Orchestra
    Marina Piccinini, flute; Leonard Slatkin, conductor

Reviews
This four-movement affair, drawing on forms such as pavane and tarantella, and dazzlingly orchestrated, was a virtuoso vehicle for the soloist Marina Piccinini, whose intent, glittering musicianship – she played, in a golden dress, a golden flute – made it even more streamlined.
Paul Driver, The Sunday Times (UK),19/02/2017
Piccinini's solo part in particular was full of challenging leaps, passages that whizzed by at supersonic speed and, in the finale, strutting melodies where she was required to sing and play at the same time in the manner Jethro Tull's flutist Ian Anderson.
Mark Stryker, Detroit Free Press,22/01/2016
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