Illuminata
Illuminata
Flute and Piano
Composer's Note:
Many of my works for flute involve extended techniques (humming while playing, multiphonics, altissimo register, etc.) unusual additional instruments (sea-shell wind chimes) or inside piano techniques. While I love this experimentation with sound, I decided I needed to write a "straight-ahead' piece, one that could be performed anywhere.
As I began to think about what this piece might be, I wanted it to reflect those composers, styles and ideas that illuminated my life and my work as a composer. For me, the word "illuminata' came to mean those influences upon me, musically and personally. I created a twelve-tone series that had certain harmonic implications, often suggesting the extended harmonic language of jazz, but with chords used non-functionally. The word "illuminata' also took on another meaning. I was reminded of the illuminated texts of the Medieval era and wanted to create a sound that shimmered and bedazzled, like shining gold and silver decorations.
At the same time, I came across a book entitled "Illuminata.' It was a collection of spiritually illuminating poems and prose, and I began to think of some of my favorite authors, especially women spiritual writers, like Clare of Assisi, Julian of Norwich or Hildegard of Bingen. They have illuminated my life; they have made my life shimmer with richness; they are my Illuminata.
Movements: 1
Authored (or revised): 2001
Duration (minutes): 10.0
First performance: 2001 Faculty Recital, University of Nebraska at Kearney
Book format: score and part
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Composer's Note:
Many of my works for flute involve extended techniques (humming while playing, multiphonics, altissimo register, etc.) unusual additional instruments (sea-shell wind chimes) or inside piano techniques. While I love this experimentation with sound, I decided I needed to write a "straight-ahead' piece, one that could be performed anywhere.
As I began to think about what this piece might be, I wanted it to reflect those composers, styles and ideas that illuminated my life and my work as a composer. For me, the word "illuminata' came to mean those influences upon me, musically and personally. I created a twelve-tone series that had certain harmonic implications, often suggesting the extended harmonic language of jazz, but with chords used non-functionally. The word "illuminata' also took on another meaning. I was reminded of the illuminated texts of the Medieval era and wanted to create a sound that shimmered and bedazzled, like shining gold and silver decorations.
At the same time, I came across a book entitled "Illuminata.' It was a collection of spiritually illuminating poems and prose, and I began to think of some of my favorite authors, especially women spiritual writers, like Clare of Assisi, Julian of Norwich or Hildegard of Bingen. They have illuminated my life; they have made my life shimmer with richness; they are my Illuminata.
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