One Flute for Flute Solo - Martijn Padding
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Uitgever('s):
Uitgavenummer:
BP1931
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Het eerste deel van Martijn Paddings zeven-delige nieuwe werk voor fluit heeft als titel ‘Fanfare’. De invloeden van de muziek die de componist op zijn Afrikaanse reizen hoorde zijn er in terug te vinden. In licht gevarieerde vorm, sluit het werk er ook mee af. ‘The Mysterious Flute', onderzoekt het karakter van de klank van de fluit, terwijl in de 'Homage to Erik Satie' een listige charleston is verwerkt. Van buitengewone aantrekkingskracht is de ‘Canon', een uniek meerstemmig stuk voor een eenstemmig instrument. ‘One Flute’, waarin Padding een veelheid aan expressieve middelen samenbrengt, kan zonder twijfel gerekend worden tot de belangrijkste stukken van de hedendaagse fluitliteratuur. De toepassing van nieuwe technieken blijft beperkt tot een paar key clicks en het gebruik van wat glissandi en kwarttonen.
‘Fanfare' is the title of the first out of seven movements that form, ‘One Flute’, Martijn Padding’s new composition for solo flute. This movement recalls the music the composer heard on his travels in Africa. In a somewhat varied form it is also the final movement of this work. ‘The Mysterious Flute' is a search for depth of character in the flute sound, whereas a cunning charleston can be found in 'Homage to Erik Satie’. Quite appealing and unique is the ‘Canon', a movement with two voices for a single melody Instrument. ‘One Flute’ offers a vast palette of expression. It belongs without any doubt to the important works of the present-day flute literature. A few key clicks, a few glissandi and some microtonal passages are the only 'extended techniques’ being used.
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Review from Pan59
Review from Pan59
This piece for solo flute was written for Thies Roorda in 2019/20. Martijn Padding is a well-established Dutch composer, who studied with Louis Andriessen and is currently Head of Composition at the Royal Conservatoire in The Hague.
One Flute is a collection of different movements, all of which are full of intelligence and craft. This is well-written music, but it's also clever music, with compositional processes logically conceived and a clarity of thought apparent throughout. For all its intellectual appeal, though, the piece is also musically satisifying; there's no sense of style over substance here, and Padding writes well for the flute, revealing a sense of wit which comes through successfully as a result of a knowledgeable and creative approach to the instrument.
The opening Fanfare asks for a sense of drive and a raw sound, with microtonally flattened F sharps adding to the music's character. The movement is built out of 12 different phrases, which come together to form a single, directed line, and the composer offers several options of how the material can be performed. Next comes a Homage to Erik Satie which goes a long way beyond the almost cliched versions of the Gymnopedies that we sometimes hear from other composers; Padding explores Satie's sense of humour, love of repetition and background as a cabaret pianist. Another example of a well-executed compositional process is the Canon 5:11, where a two-voice texture is produced through dynamics and articulations. The title comes from the use of two time signatures (although the notation itself is much simpler than this might suggest)-5/16 and 11/16-for the different voices. The other movements are contrasting in character and full of surprises-I won't spoil them all by revealing all of the secrets here, but suffice it to say that this is a piece that made me think, and smile, and want to delve much deeper into its world.
CARLA REES
One Flute is a collection of different movements, all of which are full of intelligence and craft. This is well-written music, but it's also clever music, with compositional processes logically conceived and a clarity of thought apparent throughout. For all its intellectual appeal, though, the piece is also musically satisifying; there's no sense of style over substance here, and Padding writes well for the flute, revealing a sense of wit which comes through successfully as a result of a knowledgeable and creative approach to the instrument.
The opening Fanfare asks for a sense of drive and a raw sound, with microtonally flattened F sharps adding to the music's character. The movement is built out of 12 different phrases, which come together to form a single, directed line, and the composer offers several options of how the material can be performed. Next comes a Homage to Erik Satie which goes a long way beyond the almost cliched versions of the Gymnopedies that we sometimes hear from other composers; Padding explores Satie's sense of humour, love of repetition and background as a cabaret pianist. Another example of a well-executed compositional process is the Canon 5:11, where a two-voice texture is produced through dynamics and articulations. The title comes from the use of two time signatures (although the notation itself is much simpler than this might suggest)-5/16 and 11/16-for the different voices. The other movements are contrasting in character and full of surprises-I won't spoil them all by revealing all of the secrets here, but suffice it to say that this is a piece that made me think, and smile, and want to delve much deeper into its world.
CARLA REES
Inhoud
- 1. Fanfare (12 phrases)
- 2. Hommage to Erik Satie
- 3. Canon 5:11
- 4. The Mysterious Flute
- 5. Hommage to Ferdinand Cheval
- 6. Fanfare Revisited
- 7. Three Riens
Productdetail
Componist(en):
Uitgever('s):
Uitgavenummer:
BP1931
Instrument(en):
ISBN:
Volgnummer:
925890
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