Monologues & Dialogues

PETER SHERIDAN | LOW ¶ This recording features the resonant and meditative sounds of the modern day low flutes. These unique instruments transverse down to deep dark tones and into the depths of low frequencies still unexplored by most woodwind instruments, especially flutes. The hyperbass alone plays lower than a concert piano, as the subcontrabass flute shares the same range as the orchestral string bass. These austere, breathy and even creepy flute sounds should inspire an abundance of musical imaginations. ¶ The title of the album originates from the dramatic medium, yet has direct applications to our musical language. Monologue is the sharing of one’s personal thoughts and feelings to an audience, as dialogue is the written or verbal exchange between two or more people. During the late 19th century the terms found new philosophical meanings as the essence of ‘true dialogue’ was deemed an authentic relationship between human and human, and between human and God. The musical purpose of the recording is based on this philosophical connotation of ‘true dialogue’. Any musical tone, phrase, instrument or even composition may also be considered an authentic relationship. These sonic relationships of musical sound and feeling create a purpose far beyond everyday entertainment, and may go as far as embodying healing powers for mind, body and soul. 1 In A Winter Landscape was commissioned and the impulse to dance. Intensely aware of 3–5 Three for Two opens with a mysterious in 2009. It is an introspective composition his vocation he has largely followed his own and evocative resonance of singing into the intended to convey an austere winter landscape path, allowing the music to speak for itself. His flute. The enters and after a powerful storm. The storm has cleared music, universal in that it is concerned with conjures primordial melodic fragments that out old growth and made room for new life. age-old mysteries surrounding humanity, is at soon come to a pause. The tonality and This piece is inspired by the work of Arvo Pärt the same time deeply connected to its roots in character of the music change as a lilting and John Cage. Australia, whose cultural diversity it celebrates, rhythm unfolds a noble and heroic melody and from whose natural environment it draws that is brimming with strength. The music Madelyn Byrne is an active composer inspiration, notably through birdsong and the alternates between the two worlds of light and whose work frequently combines acoustic mysterious drones of insects. Ross Edwards’ dark and an improvisatory cadenza for both instruments with computer-generated sounds. compositions are performed worldwide and instruments ends the movement. The Lament Some compositions in this area include For include various genres from symphonies to for Sarah came to life with the sad news of ANWR (commissioned by Yoon Jeong Heo), children’s music. www.rossedwards.com the sudden passing of a friend. The profound Rain, Sea, and Sky (commissioned by the lyrical alto line leads to a canonic dialogue NOISE Ensemble), and Dream Tableaux. Past 3–5 Three for Two opens with a mysterious between the two instruments and then on to honors include ASCAPlus Awards, winner and evocative resonance of singing into the a short-lived accelerating climactic phrase. of the Friends and Enemies of New Music contrabass flute. The bass flute enters and The movement ends in peace as the Composition Competition, and recordings conjures primordial melodic fragments that finds its final solace in the beauty of the last on CRI (New World), Innova, and Everglade soon come to a pause. The tonality and note. The high virtuosic energy of Sassy is Records. Madelyn’s music has also been character of the music change as a lilting based on the American style hoe-down dance. selected for a wide range of new music festivals rhythm unfolds a noble and heroic melody The instruments share the melodic line, as the and she been a guest composer at Columbia that is brimming with strength. The music contra briefly jumps into lead the frenzied University’s Computer Music Center. Madelyn is alternates between the two worlds of light and dance, barely keeping up! These evocative, currently on the faculty of Palomar College. dark and an improvisatory cadenza for both sensitive and fun-filled duets are an invaluable www.madelynbyrne.com instruments ends the movement. The Lament addition to the low . for Sarah came to life with the sad news of 2 Ulpirra is an Aboriginal word meaning the sudden passing of a friend. The profound Award-winning U.S. composer Adrienne pipe or flute. This virtuosic solo dance is based lyrical alto line leads to a canonic dialogue Albert (ASCAP) began composing in the upon a short and snappy repeated rhythmic between the two instruments and then on to 1990s after enjoying a lengthy career singing figure that uses a process known as additive a short-lived accelerating climactic phrase. other composers music (Stravinsky, Bernstein, rhythm. The rhythmic gesture is embellished in The movement ends in peace as the alto flute Glass, and Schuller). A graduate of UCLA, the middle section which ends with a dramatic finds its final solace in the beauty of the last Adrienne studied piano and composition with silent pause. The mixed meter opening melody note. The high virtuosic energy of Sassy is Leonard Stein and Stephen ‘Lucky’ Mosko returns and the brief piece almost collapses on based on the American style hoe-down dance. and orchestration with Albert Harris. Her itself as the rhythmic figure is brought closer The instruments share the melodic line, as the instrumental, choral and vocal works have and closer together in pure excitement. contra briefly jumps into lead the frenzied been performed throughout the United States, dance, barely keeping up! These evocative, Canada, Australia, Europe, Thailand, South One of Australia’s best known composers, Ross sensitive and fun-filled duets are an invaluable Africa, Central and South America, and China. Edwards has created a unique sound world addition to the low flute repertoire. In addition to being awarded an NEA grant which seeks to reconnect music with elemental in conjunction with American Composers forces and restore such qualities as spontaneity Forum and MTC/Rockefeller Foundation Award, recent commissions and awards include works for alto, bass and contra by Peter. The title accessible and musical style. for Pennsylvania Academy of Music, Andrew supposedly came from the famous children’s Malloy, Chamber Music Palisades, Pacific poem, though is fitting for the uniqueness qs–qd Serenade and Burlesque is a beautiful Serenades, 12 consecutive ASCAP Awards. of these instruments. Noisy Oyster is a cheeky composition that treats the voicings of five www.Adriennealbert.com piece that evokes the character of an afternoon different flutes with great creativity and at the beach. With its quirky rhythms and ingenuity. Serenade was originally a woodwind 6 Dark Star was originally composed for flute fanciful melodies the charm of this chatterbox quintet composed for the wedding of friends in and piano in December 2007. The opening oyster comes alive in this wild little dance. 2007. The composer’s clever use of appropriate falling phrase lends itself to the mysterious Defragmented shows the moody tone of the symbolism for a marriage scored the second tone and harmonic depth of the bass flute. The bass flute, and allows the instrument a chance C flute and the alto flute to take turns at colourful middle section sheds new light on our to climb to its highest register. A slower coda playing the same music but in a different way, already seduced ears and explores a register clears the rhythmic tension and allows the bass this union is known in music as a canon. Like not often heard on the bass flute. Almost as a moment of rest before being whisked away good marriage partners, they also alternate if the air has been cleared, the instrument’s in the sea breeze. Zephyr, one of the most taking the lead. The Burlesque is an original lyrical and expressive power unfolds effortlessly evocative of the pieces, is set for contrabass piece for the same ensemble. The title refers to back to the opening theme. The closing phrase flute. The mysterious opening melody is varied burlesque’s habit of not taking itself seriously, fades off into the deepest darkest regions of in register, as the unique haunting whisper of rather than anything to do with scanty lingerie. our galaxy. the contra sings to the inner senses. A brief Formally the piece is a double fugue on two highpoint finds the instrument exhausted from not very serious subjects characterised by agility Gary Schocker is a world-renowned flutist its activities, as it disappears into thin breezy and wide leaps, two of the flute’s specialties. as well as an award-winning composer with air … Partita is a Bach-like movement which over 100 compositions in publication. He explores delicious harmonic sequences and is Vaughan McAlley (b. 1970) briefly studied has published more pieces for the flute than a repetitive little gem. Autumn Leaves closes flute at the University of Melbourne with any other living composer, an active soloist the concert pieces with a revolving melody Prudence Davis before specialising in Gary tours throughout the world, and his that inspires a feeling of swirling and swaying. Composition under Brenton Broadstock. Since engagements have included performances with These short evocative pieces, though listed as joining the chamber choir Ensemble Gombert in the New York Philharmonic, the Philadelphia Grade 8 standard, set a much higher musical 1999 he has composed primarily choral music, Orchestra, and a tour with I Solicit Italian. standard when truly explored. The global exploring the potential of the relatively strict Schocker has collaborated with many artists on flute community thanks Hilary for sharing her rules of renaissance counterpoint combined stage, including Zuckerman, Tilson Thomas, special and imaginative gift with us all. with just intonation, a typically choral method Jessie Norman, and . He has been of tuning. On his 40th birthday in 2010 he the winner of numerous competitions, and has Hilary Taggart studied flute with Trevor Wye organized a performance of Thomas Tallis’ extensively toured and taught internationally. and Geoffrey Gilbert. Her work has included 40-part motet, Spem in alium, and premiered principal flute with the Welsh National Opera, the first part of his own 40-part choral piece, 7–qa Noisy Oyster (Concert Pieces for Low and many symphony orchestras and ballets. She Omnes angeli (still under completion). Non- Flutes) was the outcome of a conversation is an experienced teacher and enjoys coaching choral pieces in this idiom include the 3rd between the composer and performer flautists of all ages. Her music has been printed Sinfonietta for orchestra (2003), Chaconne for concerning a set of etudes for the low flutes. by numerous publishers and is composed for double string orchestra (2009), and Serenade Originally set for flute or alto flute, these all standards of flute playing from beginners to for wind quintet (2006). Vaughan has enjoyed concise pieces are filled with character and advanced. Her additions to the repertoire also many happy hours playing flute and charm. Five of them have been arranged present technical and tonal challenges in an in orchestras, and keeps his embouchure in with occasional performances at St. Carthages revisions. It opens with a block of sound that musical line is explored with register and church in Parkville. eventually dissipates to make room for the embellishments and comes to a final resting piece’s star, the bass flute. The bass flute’s tone reminiscent of music of the qf In Mediations and Memories, the first articulated gestures interact with the other East. melody is reminiscent of the opening of The conversations until the work climaxes with Rite of Spring by Stravinsky, but my theme an explosion from the bass flute. The bass David Loeb (b.1939, New York) studied always functions as a mantra. The flutes then flute begins to feel left out, and it wonders with Peter Pindar Stearns at the Mannes “meditate” on that tune. A transition follows if it’s dialogue is even being heard. This College of Music, and has taught there since that is evocative of the opening of Symphony shift of conversational attention changes the 1964. He also studied traditional Japanese No. 6 by Sibelius. A transition leads to a stretto, soloists temperament as an agitated rhythmic music with Shinichi Yuize, and has written then to another transition, and then to yet subcontrabass flute ostinato reflects these many works for Japanese instruments, another stretto. Next comes the first “memory” grievances sonically. Against a machine-like sometimes in combination with Western theme. The “memory” theme is borrowed from sound, the hyperbass flute inspires awe as ones. This experience has certainly influenced my composition Fantasy-piece for violoncello it bellows its way into the discussion. The his compositions for Western instruments, and bass. A “meditation” ensues followed soloist becomes exhausted and tires from the including (intentionally) the piece recorded by an ornate, baroque-like variation on the competition, recalling the time when all flutes here. More than 100 of his compositions have “memory” theme. The piece closes with a final spoke unanimously. been recorded on the Vienna Modern Masters “meditation”. – Stanley M. Hoffman label, including two albums of music for solo Vincent Giles is a composer and improviser Japanese flute which he performed himself. Stanley M. Hoffman (b. 1959, Cleveland, from Melbourne, Australia. A self-taught www.philmultic.com/composers/loeb.html Ohio) has lived in the Boston area since 1977. jazz musician, he turned his attention to He received degrees in Composition from composition in 2009, studying with Dr qj–qk Two Sonnets are short and expressive Brandeis University (Ph.D. 1993), the New Thomas Reiner and Peter McIlwain at the works that showcase the lyrical potential of the England Conservatory of Music (M.M. 1984), Monash University School of Music. As a alto flute. Interesting harmonies and unique and the Boston Conservatory (B.M. Cum composer, he has had works performed textures allow the alto to blend evenly with Laude 1981). His choral music won a co-first around Melbourne and in Sydney, as well as the sonorities of the piano creating a defined place prize in the 2008–9 Longfellow Chorus international performances in the USA. His partnership of sound. The opening languid International Composition Competition, and musical interests include free improvisation and melody of Sonnet I leads into a brief triplet a third place prize in the 2008 The New York the compositions and ideas of Takemitsu, Cage, trance feel which is released in the whims Virtuoso Singers Composition. Mr Hoffman’s Messiaen, and Zappa as well as other modern of an improvisatory cadenza. The returning music is published by ECS Publishing, Oxford composers. Vincent has a strong interest in opening melody closes with the feeling of an University Press, Wehr’s Music House and world music and has travelled through central unanswered question. Sonnet II begins in a Fatrock Ink. He has been Chief Editor at ECS and south-east Asia. time-free sound world of opposing instrumental Publishing in Boston since 1998. www.vgiles.net register colours. This dialogue leads into a www.stanleyhoffman.com sensual mixed meter dance that allows the alto qh Winter Sarabande finds the performer to sing in its warmest and richest range. In the qg Differing Dialogues was a result of a low challenged not by blatant virtuosity, but middle section, marked ‘Broadly’, the alto flute flutes composition workshop set up by Thomas rather by the musical concepts of control sails up and down high register scales as the Reiner, Head of Composition at the Monash and expressivity. The opening melody, set in piano responds in the opposite direction. The University, Australia. The essence of the piece the upper register of the bass flute, sings of close hints at the time-free sonorities of the (the dialogue) has remained through several peace and tranquillity. The modality of the opening. Mike Mower works as a composer, mainly world”, such as singing and wide vibrato. lowest . Now that’s what I call a writing newly commissioned works. His music – Houston Dunleavy flute! The sound world slips further downwards is published by Itchy Fingers Publications into the abyss of even darker frequencies. I for which he has also written a series of very Houston Dunleavy is a freelance composer once read that the weight of the water in the successful books of educational standard music. and conductor who was born in Ulster in 1962. oceans make the ocean floors far below groan Mike creates arrangements for the commercial From 1995–2011 he was Lecturer, then Senior and creak. Can you hear it? industry in a wide range of styles. Originally he Lecturer in Composition at the University of studied flute at the Royal Academy of Music, Wollongong after composition studies with Dominy Clements British-born, Dominy London and was later awarded the ARAM Peter Tahourdin, Barry Conyngham, Donald Clements now lives and works in The (Associate of the Royal Academy of Music). He Erb, David Felder and Charles Wuorinen. Netherlands as a composer, flautist and has written for numerous big bands including Since 1985, he has pursued a national and writer, and at the Royal Conservatoire in The the BBC Big Band and Radio Orchestra, NDR international career as a composer and Hague with the Career Development Office. Radio Big Band, the Stockholm Jazz Orchestra, conductor. He has been Visiting Composer at He studied composition with Christopher The University of Kentucky and the Texas Tech numerous Universities and New Music Festivals Brown, Edward Gregson and Roger Steptoe Wind Orchestra. around the world and has conducted, and at the Royal Academy of Music in London, www.itchyfingers.com had performances of his music, in Australia, where he graduated in 1987. He then studied the USA, the UK, France, China, Taiwan, Italy composition with Louis Andriessen, Gilius van ql Serenade came about because Peter and Puerto Rico. His music is recorded and Bergeijk and Frederic Rzewski at the Royal Sheridan, a cyclone disguised as flute-player, published on the Wirripang label (Australia), Conservatoire in The Hague from 1987-89. needed a work to play in a concert in Sydney and he is the Musical Director of the renowned He also attended masterclasses with Hans in 2010. Instead of me trying to re-learn how Sydney Male Choir. Werner Henze and Krzysztof Penderecki. He to play piccolo and join him in selections of www.houstondunleavy.com won several prizes as a composer, including my Six Clumsy Dances, I decided to write him the Arts for the Earth Festival in 1990 (Murder a new piece for his beautiful Contrabass Flute. w0 Groaning Oceans was conjured on a of Crows), Piano Circus 1992 (Two Lagrangian I wanted a work that was lyrical and soulful, flight over the Pacific Ocean one night in Functions) and Icebreaker 1996 (A Little Dutch which would be written quickly (I only had April 2009. As the A380 jumbo jet bounced Snuff). He was also finalist in the Edvard Grieg a couple of days) and would not require a around the sky like a small fishing boat on a memorial competition 1998 ( in Esse). great player like Peter to spend too much time sea of intensely rough waves, and the pilot As a flautist he performs in various ensembles, practicing as the concert was only about 10 ordered all passengers and staff to their seats specialising in sub-contrabass flute with flute days away. So I wrote a work that was based immediately, I wondered whether the groaning octet BlowUp! and the Nederlands Fluitorkest, entirely on the intervals of the first three notes oceans below us would be our final fate. for which he is ‘house composer’. (one of my earliest composition techniques) Fortunately it was not, and I soon realised that and the concept of “filling in” the spaces the hyperbass flute would suit this piece, with wa Quasi Latino was written for Peter Sheridan between these intervals and their inversions. its creepy sounds and evocative, doom-laden in 2009. The opening motive, a mixture of Although it is a technique I’ve been using for partials. The instrument’s restrictions became Latin-American rhythms, develops as the main over 20 years, I’d like to think I’ve improved a source of my creative exploration, and a rhythmic gesture throughout the work. The not only the way I handle the material, but small palette of extended techniques were the motive is interrupted by music of different also in selecting the material that might add to result of sonic wanderings, along with the use meters, which gives the work a delicious teasing this technical device – particularly in the areas of large quantities of air! The work ends with and seductive tension. Uncertainty arises when of colour and register and in the addition of final groans from far beneath the murky depths the music is interrupted by unmeasured pauses. sound material from outside of the flute “sound on the pitch E-1, which is in the range of the This doubtfulness is a charming gesture and allows the instruments to plot their next course. gratitude. Their music and organisation of endless approach to the development of the The broad palette of colours and the unique sound has intrigued me for months and I low flutes is quite profound. I am honoured to mixture of low partials give the work a very am truly indebted to their belief and faith in perform on his instruments. playful tone. my work (and the instruments!). Without the composer, the music would not sound… A special thank you to composer and performer Michal Rosiak received his graduate degree Dominic Clements for his kind permission to in performance from Academy of Music in To my wife Lisa Maree Amos heart-felt thanks use portions of his electronic composition ‘Full Katowice. He has spent most of his career for her support, belief and trust in my Fathom.’ This gracious gesture provided me the to date in Europe where he has won many madness! inspiration to record the work for hyperbass accolades for his performance, compositions flute. May it now inspire numerous other and teaching, as well as acting as principal To Jane Hammond who assisted in helping me composers to write for its most unique sound. Flautist with Opole Philharmonic Orchestra in shine. Poland. Michal has received numerous prizes I would like to thank my family for allowing me including the International Festival for Young Their inspired playing and level of musicianship the space and time to practice and record these Musicians in Neerpelt – Belgium and the has brought great depth and quality to this pieces. May this recording bring them great joy Polish Contest for Chamber Music in Wroclaw- humble recording. and pride in their husband and father. Poland. His composition Scherzo has been a Peter Sheridan compulsory piece for the ensemble competition Martin Wright, owner and director of Move at the Australian Flute Festival in Adelaide. His Records, for his willingness to support and lowflutes.com music has been performed in Poland, Germany, complete this project. His trust in my work as move.com.au Great Britain, Switzerland, Belgium, Russia, a developing artist and musician has given United States and Australia and has also been me renewed strength in my career and these broadcast by ABC Classic FM. instruments. www.mrflute.com.au To Vaughan McAlley, numerous thanks. His Performers tireless work and attention to detail, not to mention his ability and willingness to work Peter Sheridan played all alto, bass, around my artistic frustrations, has made the contrabass, subcontrabass and hyperbass flute overall sound of this recording more than the parts on this album. Tracks 3-5, 12-15 and 21 sum of its parts. Much gratitude for hearing the used multi-tracking recording techniques. sounds behind, within and around the digital Lisa Maree Amos: C flute. frequencies. This is the sign of an outstanding Jane Hammond: piano musician, engineer and professional.

Thanks Jelle Hogenhuis for his quick completion of the unique instrument called the hyperbass. This I wish to thank all involved in the making of chromatic model is the only (to my knowledge) this recording. in the world and that alone stands for much gratitude. Jelle’s genius and fearless approach The composers, who have given their time to creativity (and completion) has inspired me and sheer talent, my greatest and kindness for years. His trust and faith in my work and his 1 In A Winter Landscape qf Meditations and Memories (alto flutes) (bass flute and electronics) 5’27” Stanley M. Hoffman 3’53” Madelyn Byrne qg Differing Dialogues 2 Ulpirra (alto flute) (bass flute and pre-recorded low flutes) Ross Edwards 1’32” Vincent Giles 4’48”

Three for Two qh Winter Sarabande (bass flute) Adrienne Albert David Loeb 3’36” 3 Dark and Light (bass and contrabass flutes) 4’20” 4 Lament for Sarah (alto and contrabass flutes) 4’13” qj-qk Two Sonnets (alto flute and piano) 5 Sassy (alto and contrabass flutes) 2’35” Mike Mower 4’08” + 5’11”

6 Dark Star (bass flute and piano) ql Serenade (contrabass flute) Gary Schocker 3’35” Houston Dunleavy 5’15”

Noisy Oyster w0 Groaning Oceans Hilary Taggart (hyperbass flute and electronics) 7 Noisy Oyster (alto) 1’59” Sheridan- Clements 6’21” 8 Defragmented (bass) 2’12” 9 Zephyr (contra) 3’43” wa Quasi Latino (low flutes quartet) q0 Partita (bass) 2’30” Michal Rosiak 3’40” qa Autumn Leaves (alto) 1‘42” Peter Sheridan: alto, bass, contrabass, qs-qd Serenade and Burlesque subcontrabass and hyperbass flutes (quintet- c flutes,* alto, bass and contrabass) Lisa Maree Amos: c flute* Vaughan McAlley 2’35” + 2’14” Jane Hammond: piano Monologues and Dialogues

“Peter’s beautiful and agile tone on the lower flutes is truly amazing.” — Adrienne Albert, composer “Stunningly beautiful … full of so many precious moments.” — David Temby, Temby Flutes

P 2011 Move Records move.com.au