Block-Intertwined (SP)-V/M/P/FL/VC - Product Information
Intertwined: Seven Vignettes for Flute, Percussion and Cello, composed by Caryn Block in Summer 2008, was inspired by seven extraordinary sculptural baskets from the Arizona based exhibition "Intertwined: Contemporary Baskets fro the Sara and David Liberman Collection: on exhibit at the James A. Michener Art Museum in Doylestown, PA during this period. The work has its world premiere at the museum on October 12, 2008, as part of the concert "Arizona Views" performed by the Encore Chamber Players in conjunction with the basket art exhibit.
The composition is designed in seven movements, each with its own character to depict the great diversity of select baskets presented. The overall architectural structure is an arch form: there are two full trios positioned as outer pillars, and an internal trio movement that serves as the "height" or dramatic centerpiece of the entire work. In between these "arches", there are duos for marimba/ cello and flute/ cello and two interpolated solos for vibraphone and alto flute. The composition has been fashioned in the following order so as to create flow, textural interest and dramatic tension and relaxation: I . Trio- Exile II. Duo- Mirage for Marimba and Cello III. Solo- Wave Motion for Solo Vibraphone IV. Trio- Exile V. Duo- Rising for Flute and Cello VI. Solo- Dream for Alto Flute and VII.. Trio- Tides. If desired, these movements can be performed separately as solos or duos: Mirage for Marimba and Cello, Wave Motion for Solo Vibraphone, Rising for Flute and Cello and Dream for Alto Flute.
The duration for the complete work is 20 minutes. The duration for the works that may be performed separately are: Mirage [2'], Wave Motion [3'40"], Rising [2'20"] and Dream [4'50"].
Number of Players: 3
Difficulty: Grade 5
Instrumentation:
Player I: Flute
Players II: Cello
Players III: Marimba, Vibraphone, Non-Pitched Percussion
CARYN BLOCK, is an accomplished flutist, conductor, music director and writer, whose music has been performed both regionally and nationally. She has been the recipient of numerous grants, commissions, fellowships and awards for her compositions, among them: New York State Council of the Arts "Meet the Composer" grant, the Alexander Gretchaninoff Prizes in Composition, and the Ada Arens Morawetz Prize in Composition. In the years 2000-2008, she was awarded ASCAP Standards Awards in Composition. Recently in 2008, she was the recipient of a Meet the Composer Met Life Award for her trio "Arizona Views II" and in the year 2000, she received a Meet the Composer Award for the premiere of her trio "Newport by the Sea". Her music has been performed throughout the United States, including such venues as Lincoln Center, The Juilliard School, Riverside Church, Christ and St. Stephen's Church, The American Landmarks Festival, The Women's Interart Center, The Philadelphia Art Alliance, The Pennsylvania Academy of the Fine Arts, The Harold Prince Theatre, The Woodmere Art Museum, The Philadelphia Fringe Festival, Rutgers University, The Walters Art Gallery in Baltimore, recital halls in Pittsburgh, the National Cathedral in Washington, D. C., Salve Regina University in Newport, Rhode Island and on National Public Radio in Iowa, by outstanding chamber musicians, soloists and herself as flutist.
Caryn Block combines flute, cello, and percussion in this chamber piece. Lasting 20 minutes through seven movements, or "Vignettes" (as dubbed by Block), this work utilizes a myriad of orchestration arrangements that create variety. The outer two and middle movements use all three players, while movement two is a duet for marimba and cello, movement five is a duet for flute and cello, movement three is a solo for the percussionist, and movement six is a flute solo. Block states in the notes that the piece can be performed in its entirety or as individual movements.
Except for the final movement, most of the piece is at a slow or broad tempo with descriptions given such as "Misterioso, cantabile, espressivo, lyrical and majestically." Just as the movements change texture, each movement contains fluctuating descriptions. Disjunct melodies and non-unison writing is very common in this piece. All three players are treated equally in this work, but it is difficult to grab onto a central idea consistent through all seven movements
The percussion requirements for the first, third, and fourth movements include marimba, vibraphone, crotales, suspended cymbal, tam-tam, triangle, wood chimes, tom-tom, bongos, and tenor drum, using various sticks, brushes, and a bass bow. Marimba is used in movement two and seven
—Brian Zator
The composition is designed in seven movements, each with its own character to depict the great diversity of select baskets presented. The overall architectural structure is an arch form: there are two full trios positioned as outer pillars, and an internal trio movement that serves as the "height" or dramatic centerpiece of the entire work. In between these "arches", there are duos for marimba/ cello and flute/ cello and two interpolated solos for vibraphone and alto flute. The composition has been fashioned in the following order so as to create flow, textural interest and dramatic tension and relaxation: I . Trio- Exile II. Duo- Mirage for Marimba and Cello III. Solo- Wave Motion for Solo Vibraphone IV. Trio- Exile V. Duo- Rising for Flute and Cello VI. Solo- Dream for Alto Flute and VII.. Trio- Tides. If desired, these movements can be performed separately as solos or duos: Mirage for Marimba and Cello, Wave Motion for Solo Vibraphone, Rising for Flute and Cello and Dream for Alto Flute.
The duration for the complete work is 20 minutes. The duration for the works that may be performed separately are: Mirage [2'], Wave Motion [3'40"], Rising [2'20"] and Dream [4'50"].
Number of Players: 3
Difficulty: Grade 5
Instrumentation:
CARYN BLOCK, is an accomplished flutist, conductor, music director and writer, whose music has been performed both regionally and nationally. She has been the recipient of numerous grants, commissions, fellowships and awards for her compositions, among them: New York State Council of the Arts "Meet the Composer" grant, the Alexander Gretchaninoff Prizes in Composition, and the Ada Arens Morawetz Prize in Composition. In the years 2000-2008, she was awarded ASCAP Standards Awards in Composition. Recently in 2008, she was the recipient of a Meet the Composer Met Life Award for her trio "Arizona Views II" and in the year 2000, she received a Meet the Composer Award for the premiere of her trio "Newport by the Sea". Her music has been performed throughout the United States, including such venues as Lincoln Center, The Juilliard School, Riverside Church, Christ and St. Stephen's Church, The American Landmarks Festival, The Women's Interart Center, The Philadelphia Art Alliance, The Pennsylvania Academy of the Fine Arts, The Harold Prince Theatre, The Woodmere Art Museum, The Philadelphia Fringe Festival, Rutgers University, The Walters Art Gallery in Baltimore, recital halls in Pittsburgh, the National Cathedral in Washington, D. C., Salve Regina University in Newport, Rhode Island and on National Public Radio in Iowa, by outstanding chamber musicians, soloists and herself as flutist.
Caryn Block combines flute, cello, and percussion in this chamber piece. Lasting 20 minutes through seven movements, or "Vignettes" (as dubbed by Block), this work utilizes a myriad of orchestration arrangements that create variety. The outer two and middle movements use all three players, while movement two is a duet for marimba and cello, movement five is a duet for flute and cello, movement three is a solo for the percussionist, and movement six is a flute solo. Block states in the notes that the piece can be performed in its entirety or as individual movements.
Except for the final movement, most of the piece is at a slow or broad tempo with descriptions given such as "Misterioso, cantabile, espressivo, lyrical and majestically." Just as the movements change texture, each movement contains fluctuating descriptions. Disjunct melodies and non-unison writing is very common in this piece. All three players are treated equally in this work, but it is difficult to grab onto a central idea consistent through all seven movements
The percussion requirements for the first, third, and fourth movements include marimba, vibraphone, crotales, suspended cymbal, tam-tam, triangle, wood chimes, tom-tom, bongos, and tenor drum, using various sticks, brushes, and a bass bow. Marimba is used in movement two and seven
—Brian Zator
