Stephen Syverud

Dandelions and Diamonds

(flute, trumpet, clarinet, vibraphone, english horn, bassoon, 'cello)

Audio sample, I (.mp3)

Audio sample, II (.mp3)

Audio sample, Cut III (.mp3)

Score-I, pg1-2(.pdf - Click here to acquire Adobe Acrobat Reader)

Score-II, pg1-2

Score-Cut III, pg1-2


Notes here.

Program Notes:

Dandelions and Diamonds is a serial composition. Transpositions and permutations of the twelve-tone row determine the order of all pitches and govern other aspects of the composition as well. Fixed registration (certain pitches heard only in particular registers) is used to sectionalize the piece and aid in stressing certain pitches (tonal areas). Durational aspects and dynamics are also dependent upon the manipulation of the series. Particular intervals are emphasized in various sections. The entire work represents a gradual reduction of complexity of the material. The second movement begins with a condensation of one of the main ideas of the first movement, continues to appear at critical points during the movement, and introduces a soloistic line in the clarinet. The third movement represents a third "cut" of the material presented in the first movement and condensed in the second movement. Although all movements are based on the same material, unique motives emerge during each movement. Featured intervals in the second movement are an upward minor second and descending Major second. Symmetrical relationships are established between various types of material (dynamics and pitch, tone color and registral control, etc). Many times these relationships are exact palindromes and are expressed durationally, texturally, and dynamically as well as intervalically. Symmetrical relationships also express formal aspects of the entire composition. The basic idea and the first few intervals of the series for Dandelions and Diamonds was suggested during one of the frequent telephone conversations between my father and me. The composition is dedicated to my father, Rev. A.E. Syverud.

If you are interested in acquiring complete performance materials for this piece, please contact me by email (kindly include your phone number).

I will request a small handling fee to cover printing and shipping costs.


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