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- Gunther Schuller
Movements (1962)
- Associated Music Publishers Inc (World)
Programme Note
Commissioned by Dortmund, Germany and Dortmunder Kammerorchester
World Premiere: May 29, 1963
Composer's Note:
Movements for Flute and Strings was composed in the spring of 1962 on commission by the city of the Dortmund, Germany and the Dortmunder Kammerorchester for a week of American music held in May of 1963.
The movement Sequence consists of ten subsidiary sections, played without interruption. They are delineated by means of various combinations of the three instrumental components: 1) the solo flute, 2) a string quartet, 3) the tutti strings. Thus there are to flute cadenzas, two sections for flute accompanied by tutti strings, one each for flute and string quartet, for string quartet alone, for tutti strings, and string quartet with tutti strings, and finally two sections i.e. Sequences for all three instrumental components simultaneously. The patterning of these sequences is not symmetrical.
Besides these purely instrumental characteristics, there is interplay between polyphonic and homophonic structures on the one hand, and pointillistic and sustained textures on the other. These elements at times run parallel to the instrumental combinations, at other times contrary to them. Out of all of these structural, textural and timbral interchanges a constantly fluid continuum is achieved.
— Gunther Schuller
World Premiere: May 29, 1963
Composer's Note:
Movements for Flute and Strings was composed in the spring of 1962 on commission by the city of the Dortmund, Germany and the Dortmunder Kammerorchester for a week of American music held in May of 1963.
The movement Sequence consists of ten subsidiary sections, played without interruption. They are delineated by means of various combinations of the three instrumental components: 1) the solo flute, 2) a string quartet, 3) the tutti strings. Thus there are to flute cadenzas, two sections for flute accompanied by tutti strings, one each for flute and string quartet, for string quartet alone, for tutti strings, and string quartet with tutti strings, and finally two sections i.e. Sequences for all three instrumental components simultaneously. The patterning of these sequences is not symmetrical.
Besides these purely instrumental characteristics, there is interplay between polyphonic and homophonic structures on the one hand, and pointillistic and sustained textures on the other. These elements at times run parallel to the instrumental combinations, at other times contrary to them. Out of all of these structural, textural and timbral interchanges a constantly fluid continuum is achieved.
— Gunther Schuller