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Matthew Primm (b. 1985) currently resides in Charlotte, NC, where he works as a freelance music instructor, performer, and composer. He recently completed a degree in composition from UNC Charlotte, studying with John Allemeier. In the fall, he will begin his MM in composition at the Hartt School in West Har…
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Duo for clarinet and piano
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Instrumentation: clarinet and piano
Composed: 2002
Duration: ca. 12 min.
Score: 23 pp.
Part: 9 pp.
Website: library.newmusicusa.org/allenbrings
Composed: 2002
Duration: ca. 12 min.
Score: 23 pp.
Part: 9 pp.
Website: library.newmusicusa.org/allenbrings
Duo for clarinet and piano
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Had it not been for a chance remark that Esther Lamneck made after she gave the first performance of my Duologue 3 for clarinet and piano with Rosemary Caviglia, I doubt that I would have written the Duo that you are about to hear this evening. Much to my surprise, Ms. Lamneck noted what she considered the dearth of worthy compositions of length for clarinet and piano. Responding to this challenge, I immediately began to gather ideas for an extended, multi-movement work of which this Duo is, I hope, the satisfying result.
The first movement is based on a single, principal theme of unusually wide range that is extended more by a kind of evolving transformation than by the more familiar motivic development or variation techniques of the past. As this theme is metamorphosed the characters of successive phrases undergo corresponding changes, sometimes rather suddenly and unexpectedly.
The second movement is, except for a somewhat more agitated middle section, extremely quiet, even when it becomes occasionally more intense.
In its character the last movement resembles the rondo or scherzo of classical forms and is based on three contrasting but compatible ideas, each presented first by the clarinet. A modified restatement of the dance-like opening theme concludes this energetic yet never agitated movement.
The first movement is based on a single, principal theme of unusually wide range that is extended more by a kind of evolving transformation than by the more familiar motivic development or variation techniques of the past. As this theme is metamorphosed the characters of successive phrases undergo corresponding changes, sometimes rather suddenly and unexpectedly.
The second movement is, except for a somewhat more agitated middle section, extremely quiet, even when it becomes occasionally more intense.
In its character the last movement resembles the rondo or scherzo of classical forms and is based on three contrasting but compatible ideas, each presented first by the clarinet. A modified restatement of the dance-like opening theme concludes this energetic yet never agitated movement.
| Website: | http://amc.net/allenbrings |
| Email: | miramusic@aol.com |
