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- Marc Neikrug
Concerto for Flute and Orchestra (1989)
- G Schirmer Inc (World)
Programme Note
Composer note:
The form the flute concerto is based on the Greek aesthetic of the “golden section,” in which the proportion of the smaller section is to the larger is to the whole. In this way I was enabled to compose a massive first movement followed by a smaller second movement which I divided in the same way into a slow movement and finale. The timings become approximately: 13 minutes; 8 minutes (= 5 minutes + 3 minutes).
All the material is generated by the flute in order to ensure its position as the dominant force even in a huge orchestra. The part is extremely virtuoso and fully exploits the coloristic and emotional range of the instrument.
The entire first movement is constructed as an expansion of the 24 measures, which act as a sort of “map” of the movement. One important deviance is that a section based on Balinese gamelan music doesn’t appear where it should according to this map, but rather at the end of the movement where its expected arrival has been heightened in intensity.
The quiet slowness of the second movement and the ultimate quick crescendo “chaser” of the Finale are all derived from the same material, which is an antithesis harmonically to the gamelan music of the first movement. This is highlighted by some further manifestations at the close of the piece.
— Marc Neikrug
The form the flute concerto is based on the Greek aesthetic of the “golden section,” in which the proportion of the smaller section is to the larger is to the whole. In this way I was enabled to compose a massive first movement followed by a smaller second movement which I divided in the same way into a slow movement and finale. The timings become approximately: 13 minutes; 8 minutes (= 5 minutes + 3 minutes).
All the material is generated by the flute in order to ensure its position as the dominant force even in a huge orchestra. The part is extremely virtuoso and fully exploits the coloristic and emotional range of the instrument.
The entire first movement is constructed as an expansion of the 24 measures, which act as a sort of “map” of the movement. One important deviance is that a section based on Balinese gamelan music doesn’t appear where it should according to this map, but rather at the end of the movement where its expected arrival has been heightened in intensity.
The quiet slowness of the second movement and the ultimate quick crescendo “chaser” of the Finale are all derived from the same material, which is an antithesis harmonically to the gamelan music of the first movement. This is highlighted by some further manifestations at the close of the piece.
— Marc Neikrug