For flute (doubling alto), oboe (doubling English horn), violin, cello, marimba, harpsichord.
Notes on Concertante for Six
One of the main motivators in writing this piece was the harpsichord. I’d written for it a few times long ago and always enjoyed it. The harpsichord imposes a dynamic range on an ensemble that is much lower than the dynamic we’re used to nowadays. But this supposed restriction opens up a different sort of world that’s just as flexible as any other. A full tutti becomes tiresome quickly, so the sound world needs to be examined for a more delicate set of possibilities. The composer must open up some breathing space so those delicacies can be enjoyed. In the end, it’s quite liberating.
Movement 1 - Introductions
This movement is actually a suite in four parts. The harpsichord and marimba play a supporting role, while the other instruments step forward as soloists. Flute, violin, oboe and cello introduce themselves. Each one presents a case for the way the remainder of the piece should go. The piece has other ideas…
Movement 2 - Comedy
This quick movement is full of skittery, rhythmic hijinks. The marimba is forward and provides the glue.
Movement 3 - Intersections
This slow quiet movement is actually 2 duets that drift in and out against each other. Alto flute and english horn make up the first pair while violin and cello comprise the second. The pairs make their own statements independently, but often intersect, yielding an unexpected sort of harmony. For all of the calmness in the string parts, the double-stops are quite difficult.
Movement 4 - Concerto
The last movement is a sort of micro-concerto for the harpsichord. Passages of recitativo both interrupt and sustain a quick forward motion.
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Listen now
This rendering is is binaural format. It’s best in earphones, but should work well on speakers as well. You may choose the complete piece or audition movements separately.
Complete piece
1 - Introductions
2 - Comedy
3 - Intersections
4 - Concerto