Daniel has participated in the premieres of more than one hundred new works, many of which were composed for him. Ran writes, “My work intersperses music that is brilliant and energetic with the wondrous and songful,” creating music in which “shifting motion and brilliant color take center-stage.” The three movements of Birds of Paradise flow toward its propulsive conclusion, in which a torrent of activity in the piano underlies a flute line that dives and pirouettes.ĭaniel Pesca is a composer and pianist whose interpretations stand out for their creativity and dynamism. These qualities are radiant in Birds of Paradise, a sonata-length work composed in 2014 which showcases both the lyrical and technical capabilities of the flute. Shulamit Ran has a preeminent position among composers of her generation, thanks to her impeccably crafted, vividly communicative music. The mood of the middle sections is propelled by the cascading of pitches that at times converge and diverge, a myriad of colors in playful conversation of bouncing gestures.” Alma is characterized by its lively, virtuosic writing for both instruments, which together navigate a kaleidoscopic array of moods. The opening and closing of the piece evokes the sound of these chimes. About this work, León writes: “In Spanish, ‘alma’ means soul or spirit invisible forces, like the wind that caresses the chimes outside my window. In 2007, Cuban-American composer Tania León wrote Alma for flutist Marya Martin. In vignettes, some as short as twenty seconds, she evokes entire worlds of sensation. That set me on the course of writing a series of miniatures, each inspired by a different poem by women poets, all former residents of Bellagio.” Williams masterfully matches music to each line of text (printed later in this booklet). I began to imagine how this same effect could be achieved with music. As she read, she “was struck by the ability of a strong poem to instantly pull the reader in, to create a richly developed atmosphere in the very first line. Read MoreĪmy Williams traces the inspiration for First Lines to reading poetry in the library of the Bellagio Center in Italy in 2006. In Cendres, she writes sumptuously for both instruments, with the piano creating a web of texture that binds together the sonorities of all three, resulting in unexpected, often mysterious colors. She has written extensively for flute and cello, including a double concerto. Influenced in her younger years by the Spectral movement in French music, Saariaho developed a musical language all her own, combining rigourous inquiry into instrumental timbre with a poetic language rich in symbolism and expressive depth. Our record then skips forward about 80 years, to Kaija Saariaho’s alluring trio Cendres (1998). The two pieces reveal what a metamorphosis her style had undergone in just six short years: In D’un matin de Printemps, it is evident she has fully absorbed the impressionism of Debussy, and the piece dances through a whirlwind of rich modalities and varied textures. D'un matin de Printemps is her final work, written shortly before her death. While the melody is simple and graceful, the piece takes harmonic turns that reveal how she had mastered the idioms of Gabriel Fauré, her mentor and a leading figure in French Romanticism. Among other distinctions, she was the first woman to win the Prix de Rome, the highest honor in French music. Lili Boulanger’s life was tragically cut short by illness at age 24, but even by that age, she had become prolific and accomplished. Composed in 1853, these exquisite pieces exemplify her distinctive musical voice, especially her gift for singing melody, and feature beautiful writing for both instruments. In her lifetime, Clara Schumann was best known as a pianist, and her talents as a composer were eclipsed by the renown of her husband, Robert. 22, by Clara Schumann, originally composed for violin and piano. The earliest pieces on the program are Three Romances, Op.
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